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 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 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 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. A trained Aboriginal language reclamation is fast gaining of Botany Bay down to Nowra and west cellist and an experienced art entrepreneur, Betty's personal traction in Sydney and the south-east. For some to around Bowral is being taught at La commitment to art and music have earned her a central place in years it has been unfolding in many public ways Perouse (the northen end of that region), as Canberra’s annual music festival. Her involvement with the Festival already, such as co-branding of National Parks an outreach from Eora College. goes back to the very origins of Pro Musica in 1994. or certain places (whether geographical or civic In Sydney, the last thorough speakers of the places), all with consultation of local Aboriginal By 2007, the idea had emerged to commission a short piece that would Dharug language (also called the Eora language authorities. The exciting thing about it is that lift the spirit of the Festival’s opening concert, and the idea took hold. since only the mid-1940s) died in the early it passes deeper awareness and meaning of a In 2017 the Festival commissioned a new Beaver Blaze from Brenda twentieth century. This language region included place and the local culture on to all. Language Gifford, proud Yuin woman, for the opening of this year's Festival. This most of Sydney and the Blue Mountains. Much was realised with the assistance of a generous anonymous donor and reclamation is not without its politics, but is effort is being put into the the reclamation of Betty Beaver Photo: Peter Hislop the Indigenous Composers' Initiative. necessary and welcome. this language too, in both Sydney central and At Eora College (an Indigenous College in in Western Sydney. It is one of the most known Brenda Gifford b. 1968: Gambambarawaraga Suite (WP) - Beaver Blaze Redfern, Sydney) the Wiradjuri language is of Aboriginal languages in the public domain being taught to those descended from that and includes words such as: wallaby, dingo, The word Gambambarawaraga means 'seasons' in the Dhurgha language of my mob. The area, which spans between about Dubbo down wombat, and also Coogee (smelly seaweed), Gambambarawaraga Suite is in 9 sections, consisting of musical responses to the moon and to Albury and east to Lithgow. It's a chance Bondi (wave), coo-ee, and corroboree. So most various seasons from my South Coast Aboriginal perspective. These movements are connected by for those in the city to learn their language, Australians already speak some Dharug/Eora! a repeating section based on ‘footprints’ (bardju), which represents my journey/ footprints as a Yuin often after a break of generations. As Chris Sainsbury woman and represents our own individual journeys – also our collective footprints and the need to well, the Dharawal language of the region tread lightly on the earth and treat her with respect. This music was trod first on the coast and in the bush, and has now come to be scored and played.

Gadhu (Moon) The moon is an element that works in with the different seasons represented in this piece. eg. high moon, low tide , good fishing etc. Bardju (Footprints) I’m standing at the headland/ cliff at Wreck Bay, facing the sea, the cemetery to my right, Summer Cloud Bay to my left. In winter I feel the bite of the cold wind in my bones, in spring I feel a light breeze caress my skin, in summer I feel the heat from below rise up and hit me. Dhugawara a (Winter) Standing on the headland of the cliff at wreck in winter , with a strong wind hitting me and below the waves hitting the rocks relentlessly and loudly, the 8 bars of 3 triplets represent this. Dhugawara b (Winter) Handel: A Man of the Theatre Bardju (Footprints) here is no denying that Handel was a man of By the time he was invited to London, he had Tthe theatre. In the local house of his proved himself a true master in the genre with Gambambara (Spring) birth place Halle and subsequently in a number , produced in a mere two weeks during By whispering the word Gambambara we invoke the spirits of spring. of Italian opera houses (Florence, Rome, Venice) the 1711 season. The scene was thus set not Bardju (Footprints) he learnt the trade. This involved anything only for a successful run of opera productions from dealing with opera stars, castrati or non- in London, but also for Handel to take up Galaa (Summer) castrati, coping with the local organisation residence in the English capital. By 1719 Handel A tribute to beautiful summer, a light breezy song praising her. or lack thereof, delivering parts on time for had become the music director of the newly- Gadhu reprise rehearsal, trying to please a local audience and founded Royal Academy of Music, specifically last but not least keeping track of the finances in to present Italian opera on the London stage. assistance by Chris Sainsbury, who stayed close to my concept and knows my order to live another day. His first operaAlmira , Giulio Cesare in Egitto (Julius Caesar in Egypt) sounds. Thanks to cousin Wendy for your cultural guidance and help with language. in Italian, gave the then 20-year old composer a is one of the works dating from this period, while Brenda Gifford first taste of success in front of a home crowd. Serse (Xerxes) represents Handel’s 1737 come-

6 7 back after what seems to have been a stroke. The bravura aria 'Se bramate' from the SATURDAY 28 APRIL But before health issues intervened, the sheer beginning of Act II in Xerxes could be described fickleness of the opera business urged a career as the dramatic counterweight to 'Ombra mai switch of sorts: his re-invention as a composer fu' that starts Act I. People were scathing at the of oratorio in the English time about the opera’s CONCERT 2 language. It involved libretto and demeanour, a shift from pagan but ever since its DAPPER'S DELIGHT stories from antiquity to belated revival in the Biblical settings (which early 20th century, pleased London’s Jewish the work has been an community no end), and enduring success. a greater involvement of The remaining arias all chorus scenes. stem from two of Handel’s Nevertheless, whether most beloved oratorios: in Italian opera seria Saul and Theodora. or dramatic English Saul was Handel’s oratorio, the aria Faustina Bordoni and Senesino, by Antonio Maria Zanetti first collaboration with marking each pivotal Charles Jennens. The Black And Grey Fitters' Workshop A tune from John Playford’s Dancing Master of 1686 moment of dramatic insight into the dramatis crucial role of David was given to a countertenor 11.00 am | 70 mins personae remained the vehicle of choice for in order to convey all the powers of persuasion Once I loved a Maiden Fair celebrity singers. Tonight’s selection could be and charisma, and arouse Saul’s jealousy. His A 17th century bittersweet song of love abandoned described as a showcase of what Handel could aria 'O Lord whose Mercies numberless' is The Grey Joak, Blue Joak, Yellow Joak, Widow’s Joak Susanna Borsch recorders provide for both the male and female alto. followed by the sound of his lyre: the mystic Some very different tunes from 18th century collections, all having the title “Joak” Adrian Brown powers of a harp solo. anglo concertina and voice The star power of castrati in 17th and 18th century Fortune My Foe – Come Live With Me And Be My Love Possibly the most popular English song after , with its antidote... opera was legendary and the success of Handel’s As for Theodora, Handel has been quoted as Greensleeves depended largely on their involvement. saying "The Jews will not come to it because it Lillys And Roses - Saddlers Wells – The Bashful Swayne When Handel embarked on Julius Caesar, it was is a Christian story; and the ladies will not come Three tunes taken from Henry Playford’s Dancing Master, the third edition. Francesco Bernardi aka ‘Senesino’ who was to because it is a virtuous one." Yet, written as late Sir John Barleycorn sing it. The title role in Xerxes was initially sung as 1750, it became his favourite work, the result An arrangement of this popular folksong as a tribute to the 70’s band “Traffic” by Gaetano Majorano, known as ‘Caffarelli’. Both of a drawn-out labour of love. ‘Oh that I on wings Ten Thousand Miles Away commanded vast fees and were known for being could rise’ goes to the heart of the work’s piety, An early Sea Shanty referring to the distance between England and Australia ‘difficult’, sometimes substituting their own the martyr Theodora’s impassioned plea for – INTERVAL – arias and not averse to crudely upstaging fellow the soul to be set free. Earlier in the work her Grey And Black (M. Clarke, S. Bottomley) performers. Caesar’s aria in the beginning of Act Christian friend Irene sings ‘As with rosy steps’, A cover of a beautiful song by the English rock band “Tempest” from 1973 II 'Se in fiorito prato' is just such a an aria that defies description, Three Hornpipes starring moment. After having fallen one of the supreme examples of A selection of triple-time hornpipes from Playford’s Apollo’s Banquet of 1701 head over heels for Cleopatra’s Handel’s ultima maniera, a tribute Blanket Fair, or the History of Temple Street charms, the aria gives the singer to the Christian faith as the great A Broadside Ballad commemorating London’s “Great Frost” of 1684 a solo violin to compete with, the light of dawn from a composer Sybelle musical equivalent of the Roman who is gradually going blind in the “Sybelle”: an English form derived from an aria in Lully’s opera Atys hero’s desire and competitiveness. twilight of his career. St James’ Frolick The duet at the end of Act I 'Son Roland Peelman A 17th century Broadside ballad concerning a London barber and his client... nato a lagrimar' is a touching Bedlam farewell by the two lovers Cornelia Cecil Sharp’s pianoforte arrangement of this beautiful folk song and Sesto forcibly separated by Oh Oh Antonio (C. W. Murphy, D. Lipton) Roman political manoeuvres. It is A 1908 English music-hall song made popular by the Australian Florrie Forde the kind of piece that will guarantee Caffarelli, by Pier Leone Ghezzi the audience’s return after interval! THIS CONCERT is supported by LYNDALL HATCH & ROBIN GIBSON 8 9 Vernacular: adj. and n. SATURDAY 28 APRIL ...that writes, uses, or speaks the native or indigenous language of a country or district. ...of arts native or peculiar to a particular country or locality. CANBERRA TIMES presents

n musical circles, 'vernacular' can be used to From the middle of the 17th century, tunes from CONCERT 3 Idescribe music and specifically song that by Playford’s Dancing Master and other tune reason of popularity becomes 'representative books were immensely popular, both as music ROGER WOODWARD I of the people'. Although naturally encompassing to dance to, and as popular song tunes to play them both, vernacular is a broader term than on a variety of instruments. In fact, over the 77 either 'folk' or 'popular' music. In music history, years of its publication, we can almost speak of a it includes all music that traversed the artificial country-dance craze, which must have provided a welcome alternative to the stiff formal dances barriers between art and popular music and, in of the elite. the present day, would also include recorded music that has found its way into the popular Other tunes from our programmes come from tradition. the 17th century Masques and 18th century ballad operas. We also make arrangements of dances It is within the depths of the bubbling caldron and tunes of a rustic or popular character from th of 16-18 century English popular music what might be termed art music sources. that we wish to explore, imagining a musical antechamber positioned somewhere between Different versions of the same tunes are found in many sources, showing signs of a continuous the theatre and the street. We use the striking state of flux (for example in the modernisation instrumentarium of the anglo concertina – Claude Debussy 1862-1918: of modal tunes over the course of the many Fitters' Workshop surely one of the most portable and versatile editions of The Dancing Master). Estampes L100 (1903): 3.00pm | 100 mins keyboard instruments ever invented – and the Pagodes – Soirée dans Grenade – Jardins sous la pluie recorder, an instrument that emerged around This, together with the lack of notated (Pagodas – Evening in Granada – Gardens under rain) Roger Woodward AC OBE piano 1500 and was popular with both the alta harmonisation, confounds ideas of a Images Book 1 L110 (1904-1905): cappella as well as the chamber ensembles of 'definitive version' and challenges our notions Reflets dans l'eau – Hommage à Rameau – Mouvement singers and instrumentalists. Our aim is to find of authenticity. By using an ‘inauthentic’ instrumentation, we are forced to concentrate (Reflections in the water – Homage to Rameau –Movement) interesting programmes for this unusual and on engaging the minds of listeners with our effective combination, looking first at material Images Book 2 L111 (1907-1908): arrangements and performance more than existing in both high and low cultural sources. Cloches à travers les feuilles – Et la lune descend sur le temple qui fut on reconstructing the physical aspects of an – Poissons d'or ‘authentic’ performance. Broadside ballads formed an early movement of (Bells through the leaves – And the moon sets on the temple ruins popular music, in that they were song texts, of a In literature 'in the vernacular' could refer to a – Goldfish) variety of natures, written to popular melodies. text, or poem rendered in a language understood In an age with no recorded music, they were by the population at large, rather than the – INTERVAL – a unique way of spreading the latest songs small section who were able to read classical Frédéric Chopin 1810-1849: throughout the population. They were sold in languages. Similarly, we hope our arrangements Études op. 10: towns and villages, often being performed on and performance do likewise and will open our the street by the vendors themselves. chosen repertoire to new audiences... No. 1 in C major No. 7 in C major No. 2 in A minor No. 8 in F major No. 3 in E major No. 9 in F minor Dapper’s Delight: the combination of classically trained recorder player Susanna No. 4 in C-sharp minor No. 10 in A-flat major Borsch and the recorder maker and concertina player Adrian Brown. Their obtuse musical backgrounds provide the inspiration and gel for their musical collaboration, No. 5 in G-flat major No. 11 in E-flat major which has resulted in three widely acclaimed albums: Indoors (2011), Disguisings No. 6 in E-flat minor No. 12 in C minor (2014) Vernacular (2017). They have given concerts in many European countries and this is their first tour of Australia. www.dappersdelight.com This concert is supported by MARGARET & JOHN SABOISKY

10 11 Claude Debussy, style and substance From Study to Étude tyle, according to Proust, is not a matter of permutation. By going inward into the quality he piano’s development from the days When the musical instinct drives the fingers Stechnique but a matter of vision. If winning and nature of the sound itself, Debussy found Taround 1700 when Cristofori built a rather than the other way around, a new genre the coveted Prix de Rome as a 22-year-old is a way of constructing music that upended the mechanism of hammers striking the strings can excite an audience and be useful to a great anything to go by, Debussy certainly had plenty formalistic traditions conditioning the ears of is one of the great technological stories of pianist. of technical skill early on. But vision? In its strict the average 19th century listener. By exploring the Western music history. By the time J.S. Bach meaning this implies ‘seeing’, the ability to sheer physicality of perception and the subtle played one of Silbermann’s instruments in The new pianos needed champions, and perceive something either real or imagined in process of aural association and seduction he Potsdam in 1747, the man who had spent his the likes of Erard and Pleyel found just their great detail and use that as a guiding principle to created a new sense of form and flow allowing life on organs and harpsichords was convinced man when a young Pole arrived in Paris and build a more elaborate and possibly new picture for repetition, variation, contrast, movement of the piano-forte’s worth and future. The rest, enchanted the Paris salons with a poetic touch of the world. What Debussy saw and heard – from and space within a framework often defined as they say, is history. The instrument called and a freedom of playing (rubato) that seemed his early but short-lived obsession with Wagner by something akin to the golden section. The ‘fortepiano’, comprising five octaves, built with novel at the time. Chopin's first collection of 12 to the wonders of the world brought to Paris musical impressions that are formed along a wooden frame and using two strings per note, Études stems from his last years in Poland as a for the great 1889 exposition – have become the way build an imaginary story for the senses became the dominant keyboard instrument very young man prior to the 1831 invasion and his commonplace now: Japanese woodcuts, rather than a narrative for the brain. The musical in the second half of the 18th century. By 1820 earliest days in Paris, where they were published Javanese gamelan, Chinese lacquer art, Persian result has a temporal and tactile quality, all the makers in France and England were expanding in 1833. Ordered not chromatically as in Bach’s artefacts and much more. Such treasures more so since the specific characteristics of its range up to seven octaves, and Well-tempered Clavier, but in added spice and flavour to an already luxuriously the instrument or the space are crucial to the were experimenting with steel harmonic sequence based on sophisticated artistic scene dominated by such way the sound evolves. In other words, style frames and steel strings. Most related keys (starting in C major, poets as Rimbaud, Baudelaire, Verlaine and itself became the new substance, rendering importantly, Erard had adopted moving to A minor, then E major, painters by the name of Monet, Manet or Renoir, the Germanic division between ‘idea’ and the ‘double échappement’ etc., landing finally in C Minor for to mention just a few. Whilst poets blurred their ‘technique’ utterly irrelevant. mechanism in 1821 which allowed the last Étude), the collection mind with absinthe and dived into the periphery The obsession with sound, sonority and ‘timbre’, rapidly repeated notes, and thus clearly salutes Bach by extending of human consciousness, the painters drew now enshrined in the activities of IRCAM at created an opportunity for a new the German’s iconic first prelude Turner’s vision to its inevitable conclusion by the Centre Pompidou in Paris, has never been level of virtuosity. arpeggio idea across the entire redefining object/subject through the human exclusive to the French, but French musicians keyboard and concentrating on eye and its relationship with the changing light and scientists did lay a strong foundation for the The new instruments, louder nimble chromatic finger-crawling of day. For Debussy, too, nature had become a empiricist approach to music. While Bach wrote and more robust than their Chopin by Bisson, 1849 for the second one. The famously canvas of the mind. The subtle tactile nature of two volumes of ‘The Well-tempered Clavier’, a predecessors, but now simply hackneyed third Étude is a slow the instruments, the texture, transparency and work of practical, formal and didactic genius, his called ‘pianos’, created a buoyant market for melody, the notation and speed of which gave sonority of chords or melodies, their seductive contemporary Rameau wrote at least a dozen manufacturers who would ship their products Chopin much headache, as the sketches reveal. qualities ‘in the moment’ – these became his music theory books based around the principle to every corner of the globe, for piano teachers Each number has a distinct idea and motoric guiding vision. Led by the ear first and foremost, of ‘le corps sonore’ (the ‘sonorous body’). (who else would instruct the daughters of the device that propels the idea. The collection rooted in the sheer physicality of sound, Debussy Rameau’s reasoning and finely attuned musical aspiring middle classes?), for the educational opus 25 continues this line of thinking, starting reinvented Rameau’s findings for an audience ear thus laid the foundation for systematic repertoire (Mozart or Beethoven Sonatas were in A-flat Major with accompanying arpeggios steeped in symbolist poetry and ‘impressionist’ analysis of sound as a natural phenomenon. mostly beyond the average learner), and last against melody and bass played by the little painting. Debussy: musicien français. The realisation that any given resonating body but not least for publishing companies, enjoying fingers, notoriously daunting pieces with parallel Substance, the product of logical thought and consists of a series of overtones and that this their first real sales boom. Minor masters such as thirds (no. 6), sixths (no. 8) and octaves (no. 10), rational deduction, had led Western music forms the basis of harmony and colour paved Cramer, Clementi and Czerny produced volume and again finishing in C minor with double-hand down the path of dialectic discourse, brilliantly the way for orchestration as we know it and for after volume of bite-sized exercises, studies and arpeggios. demonstrated by the first Viennese school: much of what is going on in music nowadays. For learning pieces, rarely longer than two pages and Haydn, Mozart and Beethoven. Subsequent Debussy, the ‘corps sonore’ of choice was the each concentrating on a particular aspect of These twenty four Études became a benchmark generations continued the principle of classic piano. From the moment his right foot pressed piano technique. 200 years of mindless piano for generations of pianists and aspiring development within an increasingly complex down the pedal, a world of sonorities opened up, pedagogy was suddenly set in motion! Yet we pianists across the globe. There are many fine harmonic field. In the hands of Wagner and often prompted by one note, one chord or one ought to be grateful for the likes of Chopin, Liszt recordings, but to hear all 24 Études in concert his followers, this principle had become an improvisatory flourish…. and Schumann, who understood that each remains an utterly thrilling experience. endlessly strung out game of modulation and Roland Peelman technical feature also contains a musical idea. Roland Peelman 12 13 SATURDAY 28 APRIL

PRINCIPALS presents CONCERT 4 Achieve brand leadership FOUR SEASONS www.principals.com.au

Canberra Seasons artwork - courtesy of artist Mick Ashley

Ross Edwards b. 1943: Fitters' Workshop Harp Mantras 8.00pm | 110 mins Mary Finsterer b. 1962:

Four Interludes (WP) Tim Fain solo violin Festival Strings Camille Saint-Saens 1835-1921: dir. Roland Peelman Danse macabre op. 40 (arr. T. Peemoeller) Seven Harp Ensemble – INTERVAL – dir. Alice Giles AM: Alice Giles Max Richter b. 1966: Ingrid Bauer Recomposed by Max Richter: Vivaldi - The Four Seasons Jacinta Dennett Spring 1 Autumn 1 Genevieve Lang Tegan Peemoeller Spring 2 Autumn 2 Laura Tanata Spring 3 Autumn 3 Esther Wong Summer 1 Winter 1 Summer 2 Winter 2 Summer 3 Winter 3

This concert is supported by PERONELLE & JIM WINDEYER WP – WORLD PREMIERE

Principals is an approved supplier to the Federal Government, Department of Human Services Creative Panel (strategic brand, marketing and communication) and the NSW Government Performance and Management Services (Corporate strategy, business strategy and planning). 15 The Seasons Ross Edwards: Harp Mantras SPRING, old-English Spring, related to Germanic root spring-/sprung- etc, meaning jump, leap. ne of Australia’s best-known composers, Harp Congress we agreed that we should aim to Spring first refers to a place of rising from the ground, the source of a well or river. Its second meaning Ross Edwards has created a distinctive draw the audience into a numinous atmosphere O highlighting the harp’s ethereal qualities”. is the season after winter and before summer, in which vegetation begins to appear, astronomically sound world which seeks to reconnect music extending from the vernal equinox to the summer solstice (French printemps, German Frühling, with elemental forces and restore its age-old Edwards' compositions include four Italian primavera, Dutch lente). association with ritual and dance. symphonies, the violin concerto Maninyas and SUMMER, Old English sumor or sumer of Germanic origin (French été, German Sommer, Italian Harp Mantras was commissioned by the Seven the internationally acclaimed Dawn Mantras, estate, Dutch zomer). The season after spring and before autumn, when the weather is warmest, Harp Ensemble (SHE) to open the World Harp which ushered in the new millennium from the astronomically from the summer solstice to the autumnal equinox. Congress in Sydney in 2014 in the Sydney Town sails of the Sydney Opera House. His recent Hall. That performance included didjeridoo Oboe Concerto was rapturously received at its AUTUMN, Middle-English autumpne, from Latin autumnus (American fall, French automne, German performer William Barton. For this performance world premiere performance by Diana Doherty Herbst, Italian autumno, Dutch herfst). The season between summer and winter, astronomically the SHE uses a dawn chorus from the and the Sydney Symphony and its U.S. premiere extending from the September equinox to the winter solstice. Figuratively: a period of maturity or CD A Madrigal of Magpies recorded by by Doherty, The New York Philharmonic and incipient decline. Andrew Skeoch and Sarah Koschak. Of Harp Lorin Maazel. He is currently working on a th WINTER, from the Old-English winter, a nasalized form of the Indo-European base wed-, wod‑, Mantras Edwards writes: 5 Symphony commissioned for the Sydney ud-, meaning wet (French hiver, German Winter, Italian inverno, Dutch winter). The fourth and Symphony Orchestra. “When Australia’s unique Seven Harp Ensemble coldest season of the year, astronomically extending from the winter solstice to the vernal equinox. invited me to compose a work to open the World Figuratively: in reference to old age, or to a time of affliction or distress. Roland Peelman Camille Saint-Saëns: Danse macabre op. 40 The Human Seasons – John Keats omposed by Saint-Säens in 1874, Danse begins with twelve single notes that represent Four Seasons fill the measure of the year; Is nearest unto heaven: quiet coves Cmacabre is known as a tone poem for the twelve strokes of midnight, followed by the arrival of Death (the tritone interval), before There are four seasons in the mind of man: His soul has in its Autumn, when his wings orchestra and solo violin. Less known is the the dance begins. By using specific muffling He has his lusty Spring, when fancy clear He furleth close; contented so to look fact that its earliest version was an art song for techniques, the harp can mimic the sound of Takes in all beauty with an easy span: On mists in idleness—to let fair things piano and solo voice, based on the legend of the xylophone used in the orchestral version to He has his Summer, when luxuriously Pass by unheeded as a threshold brook: the Dance of Death: each year at midnight on imitate the rattling of skeleton bones. Towards Spring's honey'd cud of youthful thought he loves He has his Winter too of pale misfeature, Halloween, Death appears calling the dead— young and old, rich and poor—to rise up and the end of the piece, there is an abrupt change To ruminate, and by such dreaming high Or else he would forego his mortal nature. of texture which represents dawn breaking, a dance for him. rooster crowing, and the skeletons returning to Like the original tone poem, Tegan Peemoeller's The Acton Birdwatchers’ Ode to the Four Seasons – RF Brissenden their graves (and closets) for another year. arrangement for the Seven Harp Ensemble In summertime we’ll take our ease And then by winter’s fire-side blaze Upon the lawns beneath the trees We’ll quaff mulled claret as we gaze And watch the skirts get shorter; On every well-filled sweater; Max Richter And as trim pairs of hot-pants pass And drink a toast to John Keats, he German-British composer sound artist been hailed as a major departure in the Vivaldi Salute them with a spritzy glass Who said: Heard melodies are sweet, TMax Richter has become an influential voice catalogue, even though about 75% of Vivaldi was Of hock and soda-water. But those unheard are sweeter. in post-minimalist music and in the meeting of discarded and replaced by looping techniques. Then as the leaves begin to fall But come the champagne days of spring, contemporary classical and alternative pop His immersive 8-hour long Sleep project was For burgundy and port we’ll call When corks go pop and sweet birds sing since the early 2000s. He studied composition first performed in September 2015. “I think of To give our hearts new vigour, And all the world is mating, at the Royal Academy in London and then it as a piece of protest music,” Richter has said. So we may have the strength to see We’ll take our bottle and our glass with Luciano Berio in Italy. Unusually prolific, “It’s protest music against this sort of very super Autumnal clothes from neck to knee And join the ladies on the grass – he writes for stage and screen and devises industrialized, intense, mechanized way of living Enfold each lovely figure. That is, if you’re still waiting. major musical projects and installations. His right now. It’s a political work in that sense. It’s a Four Seasons ‘re-composition’ from 2012 has call to arms to stop what we’re doing”.

16 17 SUNDAY 29 APRIL

MUSICA VIVA PRESENTS BACH AND HIS WORLD CONCERT 5 His life, his work, his music. BACH ON SUNDAY

TICKETS musicaviva.com.au/tafelmusik 1800 688 482 No booking fees through Musica Viva ticketek.com.au | 1300 795 012 TAFELMUSIK BAROQUE ORCHESTRA LLEWELLYN HALL, ANU SCHOOL OF MUSIC THURSDAY 24 MAY 7PM Johann Sebastian Bach 1685-1750: Musica Viva Fitters' Workshop Amadeus Actus Tragicus BWV 106, ‘Gottes Zeit ist die allerbeste Zeit’ Society 11.00am | 75 mins Sonatina Chorus: ‘Gottes Zeit ist die allerbeste Zeit’ Bach Akademie Australia Arioso (tenor): ‘Ach Herr, lehre uns bedenken’ dir. Madeleine Easton THEME & VARIATIONS PIANO SERVICES Aria (bass): ‘Bestelle dein Haus’ Daniel Yeadon cello piccolo, Chorus, Arioso (soprano): ‘Es ist der alte Bund’ solo viola da gamba Proud sponsor of the 2018 Canberra International Aria (alto): ‘In deine Hände befehl’ ich meinen Geist’ Neal Peres Da Costa continuo Music Festival, Theme & Variations Piano Services is once again delighted to be this year’s piano partner. Arioso & Chorale (bass, alto): ‘Heute wirst du mit mir im Richard Fomison baroque trumpet Paradies sein’ Working behind the scenes with the artists and Susannah Lawergren soprano event organisers, they are providing and servicing Chorus: ‘Glorie, Lob, Ehr' und Herrlichkeit’ Tobias Cole alto the Steinway concert grand for your enjoyment. Sonata in G minor for viola da gamba no. 3 BWV 1029 Richard Butler tenor

Established in 1985 by concert technician Vivace — Adagio — Allegro Andrew O’Connor baritone Ara Vartoukian OAM, Theme & Variations Andrew Fysh bass continues to o er the highest quality service Brandenburg Concerto no. 2 BWV 1047 including tunings, repairs, restoration, sales Allegro — Andante — Allegro assai and hire of pianos. Their team has indisputable Kantate BWV 175, ‘Er rufet seinen Schafen’ expert knowledge of every aspect of pianos. Recitative (tenor): 'Er rufet seinen Schafen mit Namen' With an impressive showroom and workshop Aria (alto): 'Komm, leite mich' in Sydney, you will nd pianos for every Recitative (tenor): 'Wo find ich dich?' budget, with delivery to all areas. Aria (tenor): 'Es dünket mich, ich seh dich kommen' Contact us today. Recitative (alto, bass): 'Sie vernahmen aber nicht' NEAL PERES DA COSTA and DANIEL YEADON Aria (bass): 'Öffnet euch, ihr beiden Ohren' appear courtesy of the Chorale: 'Nun, werter Geist, ich folg dir' SYDNEY CONSERVATORIUM OF MUSIC

1300 886 053 This concert is supported by MARJORIE LINDENMAYER www.themeandvariations.com.au 18 19 Bach on Sunday (Peace and joy) which transforms the tone and Thomaskirche. In this position, Bach began texture of the ensemble, ending with a threefold the massive undertaking of writing five annual or all the squillions of words written about abound about the third sonata being a re- angelic ‘Amen’. cycles of Cantatas. In March 1725 he lost his Bach’s tenure in Leipzig, his commitment to working of a concerto for two traverso flutes. F regular librettist which forced him to break off the Lutheran service, his brilliance as a keyboard Whatever their origins might be, all three sonatas The dizzying heights of the clarino or baroque the series and make other arrangements for the player, or his grand compositional ventures such are works of great eloquence and concerted trumpet in its top register also created new period after Easter. Bach then collaborated with as The Well-tempered Clavier, The Art of the elegance. Indeed, the intricate energy of Bach’s opportunities. Whether written for the court the Leipzig-born poet Christiane Mariane von Fugue, the Cantata Cycles and more, we should concertos is in the air in the opening Vivace of trumpeter in Köthen, J.L. Schreiber, or J. Zeigler (1695 – 1760), and in that same year set never underestimate his ear for characteristic the third gamba sonata, and its Adagio cantilena Altenburg whom he heard in Weissenfels in music to nine of her texts, including the cantata instrumental colour and his uncanny ability to seems tailor made for the affectionate and 1713, Bach did not shy away from stratospheric Er rufet seinen Schafen mit Namen BWV 175. extract both subtle and strikingly original effects ‘human’ quality of the solo gamba. Throughout virtuosity if he felt like it. What is required for from the instruments and players at his disposal. the work the cembalo part combines the left the F-trumpet part in the Second Brandenburg The work is written for the first Tuesday after All the works in this concert (with one stand-out hand basso continuo with a treble part that Concerto has daunted many players over the Pentecost, still celebrated as Whit Tuesday in exception) explore pithy writing for instruments responds to and interweaves with the gamba. last 200 years. Yet, in combination with flauto, Lutheran Germany during Bach’s time – and first that two decades on would be relegated to the By the third movement the cembalo truly leads violino and hautbois as part of a concertato performed on 22 May 1725. The text combines dustbin of history: the and the two instruments group, the instrument shines like no other. the Gospel words of John 10: 1-11 (Jesus as the recorder or Blockflöte, merge into something that Composed around 1717/18, the concerto Good Shepherd) through all seven movements soon to be abandoned is greater than the sum of adopts the simple Italian three movement with von Zeigler’s poetic commentary on the for the traverso flute, its three parts. style and throws the four instruments around parable of the sheep called by name but fleeing and the viola da gamba, in playful semi-quaver fashion as he nearly from the stranger. Framed in three large sections, A pair of gambas (12 losing its distinction in always does in the key of F. But the effect is the cantata contrasts the idyllic world of Jesus strings in total) combined the simplified harmonic simply miraculous. He completed a fresh copy as shepherd with a loyal flock of listeners against with a pair of recorders progressions of mid-18th of the manuscript of all six Concertos himself those who do not yet hear the good news. supported by basso century ‘galant style’, and sent it to the Margrave of Brandenburg with continuo form the basis Bach begins each section with a recitative and in favour of the four- the following grovelling handwritten dedication: of the early cantata employs unusual and contrasting instrumental string violoncello which, Gottes Zeist ist die backing for each of the three main arias. Three incidentally, had long “ (…) rendering my most humble duty allerbeste Zeit BWV 106. recorders accompany the opening recitative found comfort between to Your Royal Highness with the present The 22-year-old Bach and aria, painting a pastoral scene (‘He calls his the legs (da gamba) Concertos, which I have adapted to could not have chosen a sheep by name'). The second aria (the arrival instead of on the shoulder several instruments; begging Your more suave, comforting of the shepherd), is a bourrée for the tenor solo (da spalla) or on the arm Thomaskirche Leipzig (1749) Highness most humbly not to judge or peaceful combination with an obligato part for the violoncello piccolo. (da braccio). their imperfection with the rigour of that of instruments for what is The full strings component finally enters before discriminating and sensitive taste, which Once a great favourite at the 17th century French essentially a funeral cantata transformed into a the bass aria paints Jesus’ victory over the grave. everyone knows Him to have for musical royal court, the viola da gamba with its six or picture of Paradise - the earthly Paradise we lost Here two trumpets conjure up the world of the works, but rather to take into benign seven strings, fretted neck and wider body and the Heavenly Paradise awaiting us. Death Devil as well as Jesus’ victory in battle. The final consideration the profound respect and opens up interesting harmonic resonances, not as a tragic end but as a blissful sleep waiting 4-part chorale bundles all of these forces in a the most humble obedience which I thus subtleties of tone and articulation that made it for eternal salvation. In this cantata, written glorious setting of 'Komm, heiliger Geist'. attempt to show Him.” very compatible with the lute, and particularly when he was still organist in Mülhausen, Bach the bass-lute or theorbo. As late as 1735 not only shows his taste and compositional By the end of May 1723, Bach had moved to Roland Peelman Telemann published 12 solo Fantasias for the skill, he displays a profound understanding of Leipzig to take up the position of Kantor at the instrument (re-discovered in 2015). Bach wrote history, reflected in the cantata’s idiosyncratic three sonatas specifically for it a few years later structure and choice of texts. With Old but otherwise reserved the instrument for very Testament quotations for the first part, he special pieces and occasions such as the aria restricts himself to lower voices interweaving ‘Es ist vollbracht’ in his St John Passion or the stern old-style motet fugato as a symbol for Cantata 106 that starts today’s concert. ‘der alte Bund' (the old bond), until the soprano Save the Date: 3-12 May 2019 voice heralds the voice of Christ and announces Only the first of the three gamba sonatas www.cimf.org.au/25years the New Covenant. The work can thus finish in is preserved in an Autograph, and theories the spirit of Luther’s Chorale ‘Fried und Freud’ 20 21 SUNDAY 29 APRIL Sharing In association with the NATIONAL GALLERY OF AUSTRALIA CONCERT 6 the best of ENOCH ARDEN Canberra’s arts and culture with Franz Schubert 1798-1828: National Gallery of Impromptu op. 90 no. 4 in A-flat Major (D. 899/4) Australia, Fairfax Theatre Johannes Brahms 1833-1897: 3.00pm | 75 mins 710,000 Intermezzo op. 117 no. 3 in C-sharp Minor: Andante con moto John Bell AO OBE narrator Richard Strauss 1864-1949: Enoch Arden, op. 38 TrV 181 Simon Tedeschi piano readers* melodrama on a poem by Alfred, Lord Tennyson per month.

canberratimes.com.au This concert is supported by HARRIET ELVIN & TONY HEDLEY Source (Readership) : emma Dec 2017 23 VR4326680 Richard Strauss: Enoch Arden melodrama on a poem by Alfred, Lord Tennyson

noch Arden is a melodrama for narrator and Like many a compositional project, Strauss’s Epiano, written in 1897 by Richard Strauss to Enoch Arden was inspired not so much by purely the words of the 1864 poem of the same name artistic goals as by more practical considerations: by Alfred, Lord Tennyson. in order to solidify the composer’s friendship and beneficial professional relationship with These days the term 'melodrama' refers to the actor Ernst von Possart, a popular and a dramatic work that exaggerates plot and powerful figure renowned as a master of poetry characters in order to appeal to the emotions; recitation, who in 1896 helped Strauss obtain but the French word mélodrame, combining the the prestigious position of chief conductor at concepts of music and drama, referred originally the Munich Opera. To return the favour, Strauss to a technique of combining spoken recitation sought a suitable poem to which to compose a with pieces of accompanying music. By the early piano accompaniment that he could perform Richard Strauss in 1904. Photo by Edward Steichen 19th century this practice was well established, in together with Possart. Enoch Arden was one of meantime married and brought up Enoch’s Philip’s theme sinks and fragments with his opera and elsewhere. In addition to the operatic Tennyson’s most popular narrative poems (two children together with one of their own. “dark hour, unseen" in the woods, but returns silent films were made of it, in 1911 and 1915), and to chime the merry wedding bells when Annie, Strauss’s score provides a short prelude and Strauss’s setting achieved his goals admirably. despairing of Enoch’s return, later agrees to several brief interludes that articulate the He and Possart toured extensively together, become his wife. Enoch’s theme shadows him passage of time or changes of scene. The performing (in German translation) to large and throughout his wanderings and undergoes the prelude music returns when the stranded Enoch appreciative audiences. most extensive transformations, as for instance recalls images of his home, including the “low when Annie misinterprets a dream-vision of Tennyson’s poem tells a story of three childhood moan of the leaden color’d sea" (suggested by friends in a small seaside village whose destinies him “under a palm tree” as signifying that his the surging G minor scales of the piano’s left departed soul has gone to rest among the are poignantly entwined in a manner perfectly hand). Most of the music, however, is designed heavenly host, or later at the opening of Part 2, calculated to appeal to Victorian bourgeois to accompany portions of the recitation. Here when he is watching wearily on the shore of his sensibilities. The orphaned “sailor’s lad”, Enoch, the reciting text is carefully coordinated with desert island for the sight of a sail. The three has a touch of Heathcliff about him; reserved the piano accompaniment, and sometimes main character-motives are all dramatically yet passionate, his “large gray eyes and weather- accented syllables are aligned with the developed and intertwined at the emotional beaten face" exert an irresistible romantic downbeat or the middle of a measure. But since climax of the poem, when Enoch looks in, silently appeal on young Annie Lee, “the prettiest little the text is recited rather than sung, the speaker and unseen, at the domestic idyll of Annie, Philip, damsel in the port”. Their playfellow, Philip Ray is able to declaim with a natural flexibility of and the children gathered about them. Alfred, Lord Tennyson (1869). (“the miller’s only son”) grows up to see Annie rhythm and accent unavailable to the singer of While successful with the public at the time that Photo by Julia Margaret Cameron courted by Enoch and married to her, while he lieder or of opera. must look on disconsolately. Driven by the need Strauss wrote it, Enoch Arden fared less well over use of melodrama by Mozart (Zaïde), Beethoven to provide for his family in the wake of a period Each of the three main characters is given a the years with music critics, who considered it (the grave-digging scene in Fidelio) and Weber of misfortune, Enoch enlists with a merchant distinct leitmotif when first named, one after slight and lacking in melodic development. But another, each in a different key and with a frank (the incantation scene in Der Freischütz), piano- vessel bound for China. On the voyage back he as the soundtracks of film and television dramas naiveté appropriate to their initial childish state. accompanied melodramas were composed by is shipwrecked and subsists for a dozen years as have gained critical respectability, so interest Annie’s consists of a gently sinuous chromatic Liszt, Schubert, and Wagner, among others. A a Crusoe-like castaway on a desert island. When has revived in a performance genre that is not turn-figure in G, Philip’s a simple triplet idea decade after Enoch Arden Schoenberg sought Enoch is at last rescued, he returns to his village unallied to that of the audiobook. In recent years in E, and Enoch’s a more energetic, leaping an even closer integration of speech and music a ghost of his former self, recognized by no one. the work has attracted some notable names with the notated Sprechstimme (‘spoken voice’) gesture in E-flat with an accented dissonance. both as speakers, including Dietrich Fischer- in his Gurre-Lieder and Pierrot Lunaire. Copland’s Where once Philip had crept away unseen These principal leitmotifs are transformed and Dieskau, Michael York, Claude Rains and Patrick Lincoln Portrait is in effect a mélodrame, into the “hollows of the wood” after glimpsing developed in the style of modern music drama, Stewart, and as pianists, including Glenn Gould, as is Poulenc’s Babar, and Sculthorpe used Enoch’s courtship of Annie Lee, now Enoch even though long stretches of unaccompanied Emanuel Ax and Marc-André Hamelin. finds his ultimate redemption in remaining recitation break up the music into small accompanied speech to highlight dramatic With acknowledgements to James Pritchett moments in his cantata The Great South Land. invisible to Annie and Philip, who have in the sections. and Thomas Grey.

24 25 GET CLOSER TO THE MUSIC SUNDAY 29 APRIL

CONCERT 7 AU S T R A L I A’ S C L A S S I C A L M U S I C & A RT S M AG A ZI N E CLASSIC SOUVENIR

Franz Schubert 1798-1828: Fitters' Workshop Impromptu op. 90 no. 3 in G-flat major (D. 899/3) 6.30pm | 100 mins Ludwig van Beethoven 1770-1828: Sonata in G major for violin and piano op. 96 Keiko Shichijo, fortepiano – Paul McNulty after Conrad Allegro moderato Graf opus 318 (Vienna 1819) Adagio espressivo Cecilia Bernardini, classical violin CONSUMER Scherzo: Allegro - Trio Orava Quartet: MAGAZINE OF Poco allegretto Daniel Kowalik violin THE YEAR 2013 David Dalseno violin – INTERVAL – Thomas Chawner viola

Pyotr Ilyitch Tchaikovsky 1840-1893: Karol Kowalik cello Souvenir de Florence op. 70 with Allegro con spirito James Wannan viola Adagio cantabile e con moto and Allegretto moderato Miles Mullin-Chivers cello Allegro vivace

CLASSICAL MUSIC, OPERA, DANCE, THEATRE, VISUAL ART 1 YEAR SUBSCRIPTION ONLY $74 FOR FRIENDS OF CIMF This concert is supported by KOULA NOTARAS and JENNY & EMMANUEL NOTARAS limelightmagazine.com.au/CIMF 26 27 Black keys enthusiasm... I'm beginning to fear that I am Florentine sojourns, Tchaikovsky stayed at a losing my powers of composition, and becoming small villa owned by Nadezhda von Meck, the n 1827 towards the end of his tragically short The piece in essence is a song, or a serenade, angry with myself". Other major projects such as generous benefactress and confidante whom life, Schubert wrote a series of eight piano with a long sustained languid melody played by I the opera Pique Dame (The Queen of Spades) Tchaikovsky, as a condition of their unusual pieces that were given the title of ‘impromptu’. the right little finger whilst the other fingers spin and a trip to US intervened until, in the spring relationship, was never to meet. His last visit The word hints at a spontaneous improvisatory out a continuous accompaniment. The original of 1890, he returned to the idea of the string to Florence came early in 1890, as he was quality – we can safely assume that several G-flat key uses all the black keys and captures a sextet. As he told his brother Modest in June completing his opera Pique Dame, and the very of these pieces would have started as an particular sound on the instrument that would 1890, “I began it three days ago and am writing year he became serious about this chamber improvisation by Schubert on the piano – and have only become possible around that time. with difficulty, not for want of new ideas, but piece. The Sextet has come to be known by its perhaps follows the lead of J. V. Voříšek, who Chopin too captured this tonal quality of the because of the novelty of the form. One requires artful subtitle, ‘reminiscence of Florence’, and had published Impromptus five years earlier. black keys very assertively in his fifth Étude six independent yet homogeneous voices. This the eventual result gave him much satisfaction: The third impromptu was not published till op. 10, and on many other occasions. By the end is unimaginably difficult". A little later the sextet “What a Sextet - and what a fugue at the end - 1857, and at that time the publisher decided on of the century Debussy and Puccini had turned seemed ready in draft form and he confides to it's a pleasure! It is awful how pleased I am with altering the key to G major as the original seven it into an art form. Modest: "At the moment I'm terribly pleased myself; I am embarrassed not by any lack of flats might have been a turn-off for amateurs… Roland Peelman with myself”. Later that summer the full score ideas, but by the novelty of the form." was completed and sent to St Petersburg The opening Allegro con spirito bursts forth Beethoven's op. 96 for copying. "I will not allow it to be printed or full of D minor fervor, contrasting with a learned by your company, until I have corrected ritten in 1812, Beethoven’s Violin Sonata Presto coda to round it off. But the first three serenade-like second theme that one could any passages that might prove awkward, bad, or Wop. 96 comes at the end of a remarkably movements too excel in understatement easily associate with Italian ardour. The coda unmusical... You know this is my first attempt to productive period of activity. He finished the and superbly detailed interplay. Rather than employs cross-rhythms reminiscent of Dvořák break free from the quartet. What a wonderful sonata in November after putting the last developing a grand duel between piano and as it builds to heady levels of excitement. The thing the sextet is!“ he wrote to Eugen Albrecht, touches on his Eighth Symphony. The work was violin, as one might describe the Kreutzer Sonata, D major Andante Cantabile begins with an the violinist who would first get to play the piece. dedicated to Archduke Rudolph who played the Beethoven developed a musical dialogue with opulent chordal introduction to a melancholic Two days later: “I ask you to be frank about piano part in the first performance, on December refined classic gestures, from the opening trill theme accompanied by guitar-like figuration. In pointing out technical shortcomings”. A private 29. The violin part was written specifically for to the laconic presto statement that concludes the central section of the piece, the players are performance in Tchaikovsky's apartment at the Pierre Rode, and Beethoven took great care the work. The challenge for the players is to instructed to play a punto d'arco (with the point Hotel Rossiya in St Petersburg took place at the in writing a part that suited Rode’s style. The shape every small element and make it part of a of the bow). English music critic Colin Mason end of 1890. Sure enough, he then decided to sonata, in the amiable key of G major (think the broad unfolding canvas, a vision of ‘Elysium’, the describes this passage as "an essay in sheer "radically alter the string sextet, which turned Fourth Piano Concerto) is clearly conceived Elysian fields where man can become God and sound effect, without the least musical content out to be astonishingly bad in all respects”. All on lyrical rather than overtly dramatic terms. find beauty and truth in equal measure. whatever, probably unique in the whole realm the revisions were not carried out until January Shortly before completing the work, Beethoven of [pre-twentieth century] chamber music." Much has been written about the serene 1892 when, arriving in Paris, he wrote "I now wrote to the Archduke Rudolph “… I did not make After this unusual episode, the opening theme ethereal beauty of this canvas, a reflection of have two free weeks, which I have decided to great haste in the last movement for the sake of returns, and we are treated to outpourings of bel Beethoven’s supreme craftsmanship, a growing dedicate to revising my Sextet. I'm looking for mere punctuality, the more because, in writing canto beauty in the cello. The Scherzo in A minor reputation in Vienna and elsewhere, and his somewhere to stay in Paris where I want to try it, I had to consider the playing of Rode. In our probably sounds more Russian than Italian, with hope for marital bliss. The personal crisis that to spend this time incognito.” The sextet was finales we like rushing and resounding passages, violas playing in unison to open the Trio section. followed at the end of 1812 slowed down his eventually performed in public towards the end but this does not please R and – this hinders me The finale is an abridged sonata form and is output considerably and brought home the of the year, in St Petersburg as well as Moscow. somewhat.” the movement that gave him so much trouble looming reality of life as a single man, facing the And such was the connection between Russia in writing. The first theme returns to form the The finale became a set of seven variations on certain loss of hearing. and USA in those days that the piece was basis of the fugue about which Tchaikovsky a simple cheerful theme with a witty Adagio- Roland Peelman performed at Carnegie Hall as early as January justifiably boasted to his brother. The work has 1893, in a transcription for string orchestra by become such a standard over the last century Anton Seidl. The work has since enjoyed a very Souvenir de Florence that the same kind of elevation expressed by successful double career. n October 1886, upon being awarded honorary colleagues and patrons allows an unusually the composer at the end of the work is generally Imembership of the Saint Petersburg Chamber candid insight into the genesis of the new work. The title of the work ‘Souvenir de Florence’ belies shared by players and audience alike. Clearly, Music Society, Tchaikovsky made a promise to By June 1887 he was jotting down early sketches all the trouble and anxiety the work created. this classic souvenir has been worth all the write some sort of chamber music work. The for a string sextet, with two violins, two violas Florence had always been Tchaikovsky's trouble. busy correspondence with his brothers, friends, and two cellos. But, as he writes “….with little favourite holiday destination. For many of his Roland Peelman 28 29 MONDAY 30 APRIL MONDAY 30 APRIL

In association with the NATIONAL LIBRARY OF AUSTRALIA In association with the NATIONAL LIBRARY OF AUSTRALIA, the NATIONAL PORTRAIT GALLERY FESTIVAL EXTRA and the HIGH COURT OF AUSTRALIA JOHN BELL on WORDS CONCERT 8 National Library of Australia Theatre FROM THE LETTER TO THE LAW 9.30am | 60 mins

Australia’s master of the spoken word interviewed by Genevieve Jacobs

Tickets: $25 John Bell AO OBE Photo: Pierre Toussaint National Library of Australia – 11 am: National Library of Australia Roger Smalley 1943-2015: National Portrait Gallery Nine Lives (2007) High Court of Australia MONDAY 30 APRIL – FRIDAY 4 MAY National Portrait Gallery – ca. 11.30 am: 11.00am | ca. 90 mins

In association with the NATIONAL GALLERY OF AUSTRALIA Mary Finsterer b. 1962: Kate Howden mezzo-soprano Tract for cello solo (1993) FREE EVENT Spherica for 2 violins (2008) Roland Peelman piano SUNSET Ignis for viola d'amore and cello (2017) (WP) James Wannan viola d’amore Christopher Pidcock cello High Court of Australia – ca. 12.00 pm: National Gallery of Australia Veronique Serret violin

James Turrell Skyspace Anna Da Silva Chen violin Martin Wesley-Smith b. 1945: Seven Widows at the Gates of Sugamo (2008) Seven Harp Ensemble Turrell's magic space reverberates with the tones of Words by Peter Wesley-Smith dir. Alice Giles AM: German recorder sensation Susanna Borsch. Alice Giles From Monday to Friday, two short performances Sharon Calcraft b. 1955: Ingrid Bauer Sevenfold Amen (2008) Jacinta Dennett each evening at 5:15 and 5:45pm: Genevieve Lang Ti-Tse (The Flute) (Chinese Folktune) b. 1934: Tegan Peemoeller Alrune (1979) by Roland Moser Fantasia No 13 - Perpetuum Mobile (2006) Laura Tanata Esther Wong Lillys And Roses – Saddlers Wells – The Bashful Swayne – three tunes from Henry Playford’s Dancing Master, third edition

This concert is supported by ANDREW BLANCKENSEE, WP – WORLD PREMIERE in memory of ANNE & ALAN BLANCKENSEE, music lovers 30 31 Interview with Mary Finsterer feels like a second home to me, and I always feel it's fair to say that to embrace all the different by Annie Pirotta like I'm welcomed there, as if I'm a local. In terms cultures and influences we have available to of musical style, I never really thought about us is quintessentially Australian. Over the last Canberra has changed so much lately. parties and social gatherings. My mother was who I should sound like, and I've never tried to ten years or so, my work has been increasingly What is it like to come back now for you? very community oriented. She would allow us to sound like somebody either. I think that my style influenced by early music as I've always loved it. I love coming back. There are many aspects have friends over regularly and often we’d have is perhaps a synthesis of the diverse background I guess the most prominent example of that was about Canberra that are familiar and give it a sort up to 15 friends around all pitching in, cooking I have both culturally and in terms of life my opera, Biographica. of welcoming feeling. The most beautiful thing pancakes and so on. experience. A person growing up in Holland has about it is the design of the city - it has some Your musical roots? grand architecture and it connects well with the natural landscape. Apart from growing up here, My mother was my main influence. She was I lived here in the early 2000’s in Weetangera. a naturally gifted singer and I have many fond Behind where we lived was a beautiful reserve. memories of her singing around the house. She You're always close to nature in Canberra, and also encouraged all her childern to follow their the way in which the city continues to develop passions and organised for us to do a lot of co- is thoughtful and retains that essential beauty. curricular activities. I studied piano and played Of course, it has changed in the years I've been sport. There was also a strong cultural tradition away, but the integrity of the city is still intact. with German and Irish dancing and this was well supported in Canberra. We were constantly Tell us a little about your family, how and why busy. My father also comes from a musical they ended up in Canberra? family, but he couldn't learn an instrument as My father came to Canberra with a group of all of the teachers were serving in the military young Germans. Dad was a cabinet maker during the war. My older brother lived for music Mary Finsterer Photo: William Hall and joiner by trade. The building company, AV and he was a big influence in my early years. He Jennings recruited them to build facilities for the taught himself the guitar and was in quite a few a completely different experience to me, so it Your opera Biographica premiered last year Snowy Mountain scheme and then in and around bands in Canberra before going to Sydney to stands to reason that I write with a different style at the Sydney Festival after a long gestation Canberra. They became known as the 'Jennings study at the Conservatorium. and sound. There are elements in my music that period. Would you consider another opera? Germans '. My mother, who was originally from derive from a Dutch influence, but I know that I Why and when did you leave Canberra? I've already started drafting ideas for the next Lithgow in NSW, grew up in Sydney. She later don't sound like a Dutch composer and I don't opera. I'm really excited about it. I'm particularly moved to Canberra as a nurse to work in the In my teenage years, it was a natural progression think that I should. looking forward to working once again with Tom area of obstetrics. She is Australian with Irish- to venture out into the wider world and seek Wright, who was the librettist for Biographica. English heritage. Her lineage goes back to a out opportunities so I moved to Sydney after I How do you perceive your musical evolution? Tom is a great collaborator and having great convict who was an Irishman. He was sent here had finished Year 12. I worked a lot in hospitality I think having that diversity of music appreciation people to work with is just as inspiring as the for rebelling against the crown. He was one of and other odd jobs. This experience made me from a young age really helped me to embrace music. the forerunners of Fenian movement in Ireland. I appreciative of the general routines of life. I and allow myself to be influenced by other have four siblings, two sisters and two brothers. believe that if you can approach the humblest traditions. From an early age I listened to a What is it that inspires you, or gives you a hook of tasks with a sense of wanting to do your diversity of styles and genres, from country, into the next work? What was it like to grow up here? The schools? best, it prepares you for those projects you rock and roll, jazz to classical. In terms of I'm always inspired by different things. What was there for young people to do? feel privileged to be a part of. It's important for composition from an academic point of view, Sometimes it's a gesture, sometimes it's a I spent all of my childhood in Canberra – born me to approach my work with equal dedication my earliest influence was from a modernist musical idea. I also love to chat with Dean and bred! I went to St Brigid's Primary School in to all things. It's how you deal with those less aesthetic. When I was studying, I was very about ideas, as being an artist, he always has an Dickson and Merici College, and had a wonderful significant things that gives you grounding. interested in how I could develop systems and interesting perspective. Stories are also very time at both. The schools arranged ‘socials’ methodologies. Modernism played a central Your connection with Holland has been important to me and increasingly so throughout where they would hire a band and turn role in that, and still does. But I can’t ignore early very strong for a long time. Why is that? You my current writings. I rediscovered a love of the school hall into a dance venue. I recall Merici musical experiences. Hopefully in one's life, have never sounded like a Dutch composer stories from reading to my children when they College hired my brother’s band on a couple there is opportunity to develop and learn about (whatever that means!). were little, they've enabled me to reconnect of occasions. Back then, young people would other systems, traditions, styles and genres, with that inspiration and it has given me plenty I first went to Holland in 1991 and have developed benefit from being able to socialise within their and integrate them into a form that sounds like to do over the coming years. a strong association with it since that time. It school in a casual way. We also arranged our own your own voice. That's what I've done, and I think 32 33 Roger Smalley: Nine Lives Sharon Calcraft: Sevenfold Amen Born in England, Roger Smalley first arrived music and orchestral work stands out in its haron Calcraft writes: the harp is of particular interest to me and has on Australian shores in the 1970s, directly unwavering commitment to compositional S"Sevenfold Amen flashed into reality as a a similar effect on my being as the sound of the from the highly pressured surroundings of the craft, instrumental polish and formal scrutiny. fleeting auditory image of cicadas singing their theorbo.” Stockhausen household and the European This expertly written cycle from the end of his particular deafening and dance-like summer Calcraft has sustained a strong interest in the modernist circles. After a few visits, Australia creative life offers terrific opportunities for good song. I also recalled a line from African-American harp from the time of her first illuminating became home, and it is in Perth, the most singers who love furry pets with attitude. Smalley poet Maxine Clair: ‘And of cicada droned encounter with the playing of jazz harpist Alice isolated city in the world, that he reconnected passed away in 2015 but would have turned 75 a fugue of The Seven-fold Amen’. Somewhere Coltrane, to her present working relationship with the icons of the Western canon, including this year. in all this there is also St John the Revelator (the with Alice Giles, and she is able to bring out more cats. His output of solo music, chamber traditional author of the Book of Revelations), Roland Peelman of the instrument than is often heard. exiled on Patmos and writing the letters to the Seven Churches in Asia. The deeper register of Martin Wesley-Smith: Seven Widows at the Gates of Sugamo t the conclusion of the Pacific War, the of planning and waging aggressive war. Seven Avarious allies brought proceedings against of these defendants, including Prime Minister Larry Sitsky: Fantasia No 13 - Perpetuum Mobile Japanese suspected of war crimes. Many trials Hideki Tojo, were found guilty, and were executed he Fantasia No 13 - Perpetuum Mobile was available with seven harps - both through moving were held in Asia for offences against the laws on 23 December 1948 at Tokyo’s Sugamo Prison. Tone of the first works commissioned for the the sounds back and forth across the ensemble, and usages of war, with nearly 1,000 soldiers In this piece the seven widows bewail the fate of SHE. It was first performed on their inaugural and also by using different pedal settings or and camp guards being sentenced to death. their husbands; Katsuko Ito hears the voice of concert tour to the American Harp Society scales for each instrument, culminating in a The international military tribunal which sat in her husband Tojo from beyond the grave , as he Conference in San Francisco. Sitsky utilises virtual tsunami of sound. Tokyo 1946-48 tried twenty-five men accused replies in anger and sorrow. the unique harmonic and acoustic possibilities

FRENCH COURSES t taste of TERM 2 A swee France 30 April-7 July 2018 Young learners & adults

New! Class with a glass Apéro Sport

Get more info and sign up on afcanberra.com.au

34 ALLIANCE FRANÇAISE DE CANBERRA - 66 McCaughey Street - TURNER ACT 2612 Tel: 02 6257 6696 - [email protected] MONDAY 30 APRIL MONDAY 30 APRIL

In association with the ANU SCHOOL OF MUSIC BARLENS presents FESTIVAL EXTRA CONCERT 9 TALK OF THE TOWN - THE PIANISTS ISRAEL IN EGYPT ANU School of Music Larry Sitsky Room 4.00pm | 60 mins

Internationally renowned Australian pianist Roger Woodward works with two young piano students. With support from the Theme & Variations Foundation

George Frideric Handel 1685-1756: Fitters' Workshop Israel in Egypt HWV 54 6.30pm | 120 mins TICKETS $10 Oratorio in two parts (1756 version) Libretto by Charles Jennens based on the Book of Exodus Part I: Exodus Bach Akademie Australia Recit. - Tenor: Now there a rose a new King with Cecilia Bernadini violin Solo - Alto: And the children of Israel sighed Coro Double Chorus: And their cry came up unto God Luminescence Chamber Singers with Recit. - Tenor: Then sent he Moses Dan Walker tenor Chorus: They loathed to drink of the river Kompactus Youth Air - Alto: Their land brought forth frogs Susannah Lawergren soprano Friday 18 May Double Chorus: He spake the word Chloe Lankshear soprano Double Chorus: He gave them hailstones Back by popular demand, a night of teasing trivia, Tobias Cole alto Chorus: He sent a thick darkness tasty treats and baroque brilliance. Richard Butler tenor Chorus: He smote all the first-born of Egypt Will your table win? Andrew Fysh oam bass Chorus: But for his people Andrew O’Connor bass Chorus: Egypt was glad Daniel Yeadon baroque cello Double Chorus: Handel’s Susanna He rebuked the Red Sea Neal Peres Da Costa Chorus: He led them through the deep harpsichord and organ

1-2 September Chorus: But the waters overwhelmed dir. Roland Peelman Canberra Playhouse Double Chorus: And Israel saw that great work Directed by Caroline Stacey Chorus: And believed the Lord NEAL PERES DA COSTA and DANIEL YEADON Featuring Tobias Cole – INTERVAL – appear courtesy of the SYDNEY CONSERVATORIUM This concert is supported by PERONELLE & JIM WINDEYER OF MUSIC 36 Join our mailing list for details: www.handelinthetheatre.com.au/subscribe 37 Part II: Moses' Song shackles made possible by a common belief in contrasted with more reflective duets and arias. Double Chorus: Moses and the children of Israel God’s grace. Without the religious overtones, it While Moses and Miriam are mentioned in the text, the oratorio lacks a conventional plot and Double Chorus: I will sing unto the Lord could be read as a blueprint for the abolitionist movement or even the burgeoning union any clearly defined individual characters. The Duet - Two Sopranos: The Lord is my strength movement of the 19th century. work’s momentum is derived from the music Double Chorus: He is my God alone, composed (i.e. ‘put together’) during On all accounts, Israel in Egypt should have Chorus: And I will exalt Hlm the month of October 1738. Handel made use been a tear-away success. The reception, Duet - Two Basses: The Lord is a man of war of every choral trick in his repertory – fugues; however, was tepid. The lack of virtuoso arias Double Chorus: The depths have covered them cantus firmus themes with moving counter- was considered the main issue and almost melodies; antiphonal double choirs; thunderous Double Chorus: Thy right hand, O Lord immediately Handel started tweaking its choral homophony, Double Chorus: And in the greatness structure, adding and more. It should Double Chorus: Thou sentest forth Thy wrath more solo music also be noted that Chorus: And with the blast of Thy nostrils in the process. he borrowed an Not until amateur Air - Tenor: The enemy said unprecedented choruses started Air - Soprano: Thou didst blow amount of material, growing in number both from his own Double Chorus: Who is like unto Thee th in the 19 century compositions Double Chorus: The earth swallow'd them did the work gain and from other Duet - Alto and Tenor: Thou in Thy mercy popularity. One of composers such Double Chorus: The people shall hear the earliest existing as Alessandro Air - Alto: Thou shalt bring them in recordings of the Stradella, Johann piece took place Caspar Kerl and Double Chorus: The Lord shall reign W.M. Turner: The Fifth Plague of Egypt in the Crystal Palace Don Dionigi Erba. Reclt. - Tenor: For the horse of Pharaoh in London on June 29, 1888. The 4,000-voice But his skill and imagination in the process of Double Chorus: The Lord shall reign chorus was recorded from 100 feet away, and the adaption or re-imagination always wins out. Recit. - Tenor: And Miriam, the Prophetess sound of the wax-cylinder recording has greatly Who would suspect that the double chorus 'He Solo Soprano and Double Chorus: Sing ye to the Lord degraded, but the boldness and sheer scale of gave them hailstones', with its vivid depiction of the undertaking gives us some idea of what the pelting hail and running fire, was once a sinfonia piece eventually meant to so many people. In and bass aria from Stradella’s Serenata? The A musical Exodus Handel’s lifetime an oratorio would have been word painting is wonderfully effective in all he return of the people of Israel to their those who particularly enjoyed the choral style performed by a modest group of singers with an the plagues, beginning with the eerie, jagged Thomeland as told in the book of Exodus was of these oratorios. Israel in Egypt is unique in its equally modestly sized orchestra. For tonight’s chromatic lines of 'They loathed to drink', and the starting point for Handel’s 1738 oratorio, abundance of music for the chorus: no less than performance we have brought together some 32 it is hard not to smile during the leaping violin first performed on April 4, 1739. Israel in Egypt twenty-six out of thiry-nine numbers, eighteen of choristers – the Fitters’ Workshop is not exactly lines that mimic the frogs in 'Their land brought recounts the Israelites’ slavery in Egypt, the them scored for double chorus. For the soloists, the Crystal Palace! forth frogs'. 'There came all manner of flies' advent of Moses the liberator, the plagues visited in contrast, there only four recitatives, five arias, provides perfect buzzing contrast with the Part One starts with the Israelites’ bondage in monolithic 'He spake the word'. The relatively on the Egyptians (frogs, flies, hail, darkness and three duets – has a much higher Egypt, followed by descriptions of the plagues simple but powerful choral recitative 'He – grand opportunities for word painting), the ratio of solo numbers. The reason is simple: the that persuade the Pharaoh to let the Israelites sent a thick darkness' calls forth the image of crossing of the Red Sea (or was it the Sea of real protagonist in this work is not Moses, but go. Eventually, the Israelites are led out of Egypt, dark clouds, settling down on the land. Other Reeds?), and a suitably exuberant song of praise. the people of Israel. Written in the same year as only to be pursued by the Egyptian army shortly examples occur in the fading lines predicting the Adding to Exodus a few passages from Psalms John Wesley’s ‘conversion’, the work captures thereafter. This Part culminates in the parting 'melting away' of 'all the inhabitants of Canaan' 105 and 106, Charles Jennens provided Handel both the theatrical operatic grandeur of the of the Red Sea, the destruction of the Egyptian in 'The people shall hear'. But it is probably the with a libretto that in a different era might well subject, some 200 years before Hollywood’s army, and the Israelites’ acknowledgment of the infectious galloping rhythms of 'the horse and be called sensationalist, but which at that point celluloid reinvention, and the pietist/evangelical power of their God. his rider' in the opening and closing portions of in history appealed to those who had never movements on the rise within Protestantism at Part Two that will linger most in the listener’s ear, felt comfortable with the aristocratic taste for that time. This above all is what makes the work Part Two is essentially an extended celebration long after the oratorio has ended. all things Italian, to those of the Jewish faith stand out: the story and shared fate of a people, of the victory described in Part One, through (about 6,000 in London at that time), and to their destiny and their collective breaking of the a sequence of large choral compositions Roland Peelman 38 39 TUESDAY 1 MAY

In association with the AUSTRALIAN WAR MEMORIAL CONCERT 10 REQUIEM

Peter Sculthorpe 1929-2014: Australian War Introit and Kyrie from Requiem for cello solo (2004) Memorial Samuel Barber 1910-1981 10.00am | 55 mins Adagio for Strings (1936) 11.30am | 55 mins Eleanor Daley b. 1955: 'In Flanders Fields’ on words by John McCrae (1915) William Barton didgeridoo Miles Mullin-Chivers cello solo 1875-1937: Three Birds of Paradise (1915) Orava Quartet: Daniel Kowalik violin Gordon Hamilton b. 1982: David Dalseno violin Dark Hour on words by Billy Hughes (1916) Thomas Chawner viola William Barton b. 1981: Karol Kowalik cello Improvisation Pietra Quartet Peter Sculthorpe: Anna Da Silva Chen violin Qui Mariam and Lacrimosa from Requiem for cello solo Benjamin Tjoa violin Justin Julian viola Frederick Septimus Kelly 1881-1916: Miles Mullin-Chivers cello Elegy in Memoriam Rupert Brooke (1915) Peter Clark violin arr. for string quintet by Richard Divall Jessica Oddie violin

Peter Sculthorpe: Veronique Serret violin Libera me and Lux Aeterna from Requiem for cello solo James Wannan viola

Edward Elgar 1857-1934 arr. John Cameron: Christopher Pidcock cello Lux Aeterna Jacqueline Dossor double bass

Luminescence Chamber Singers with Dan Walker tenor

40 41 Requiem eter Sculthorpe’s Requiem of 2004 is deeply moved and almost immediately started In the same year 1915 Frenchman Maurice Ravel, day, these young soldiers went out to die. As the Pone of the major achievements of his later sketching an Elegy for strings. He took part in the aged 39 and having failed the military service blast of the whistle sounded, the first wave leapt years. It has somewhat obscured an earlier burial on the island of Skryos before serving at test twice because of his diminutive stature, was from the trench. But nearly all fell back upon their work from 1979 also called Requiem, but scored Gallipoli. Recovering from injuries in Alexandria finally accepted as a truck-driver. The experience fellows waiting their turn. None got more than a ‘for cello alone’ and directly inspired by the gave him a chance to complete the piece. By the was short-lived but his touching song about few yards, a hail of death into their poor bleeding Gregorian chant from the catholic liturgy. The end of 1916 Kelly himself had become a casualty three birds of paradise lives on. Written after the bodies.” cello work covers the main components of a of war, shot in the head as he served in one of the departure of his close friend Roland-Manuel to Two works, one by an Englishman and the other by Requiem Mass with the addition of two Marian battles on the Somme. the trenches, it takes the form of a folksong, or an American, do not relate directly with World War movements and explores the full range of what perhaps a love song patriotically disguised - each The terrible losses on the Western battlefield I, but their iconic status has been long associated is possible on the cello, lower string tuned down bird representing a colour of the French flag. between 22 April and 25 May 1915 are with unspeakable loss and sadness. Samuel a full tone (scordatura). In today’s event, the immortalised in a simple poem by the Canadian The Welsh-Australian Billy Hughes, a strong Barber’s Adagio was written in 1936 as part of a six movements frame a number of works from John McCrae. 'In Flanders Fields', was written patriot and Australia’s war-time Prime Minister String Quartet, his opus 11. Ever since Toscanini countries involved in World War I. on May 3 1915 by McCrae, an army doctor and stayed closely in touch with the British upper performed it with a full string orchestra, the work The Australian F.S. Kelly, gifted sportsman as artillery commander, after burying a fellow command during the Great War. Reflecting on has taken on a life of its own. Elgar’s equally well as a talented musician, forged a friendship soldier who had died in the second battle of the Australian experience at Gallipoli the previous famous Nimrod variation from the 1898/99 with the English poet Rupert Brooke (1887-1915) Ypres. McCrae himself did not survive the war. year, he allowed himself some off-the-cuff Enigma Variations has long been appropriated from the moment they enlisted in 1914 in the He succumbed to pneumonia in 1918. His 1915 remarks at London’s Savoy Hotel in March 1916. for British funerals and memorials. Every year it is Hood Battalion. On their way to the Dardanelles, poem, musically set by a fellow Canadian, has This is what he said: played at the Cenotaph, Whitehall in London on the young poet tragically died of an infection. become a potent symbol of the lives lost in Remembrance Sunday. “In the dark hour when night is yielding doggedly to It was 23 April 1915, barely two days before the Flanders’ fields. Roland Peelman landings on what became Anzac Day. Kelly was

Peter Sculthorpe John McCrae Maurice Ravel Samuel Barber

FS Kelly Billy Hughes

42 43 TUESDAY 1 MAY TUESDAY 1 MAY

+ Supported by the AINSLIE GORMAN ARTS CENTRES THEME AND VARIATIONS PIANO SERVICES present FESTIVAL EXTRA CONCERT 11 - TALK OF THE TOWN STRING QUARTETS ROGER WOODWARD II Gorman Arts Centre - Main Hall 55 Ainslie Avenue, Braddon 2.00pm | 60 mins

Ainslie and Gorman Arts Centre Director Joseph Falsone in conversation with the Orava and Pietra String Quartets

Two home-grown Australian quartets: Orava Quartet reflecting on their first ten years share stories with the freshly-minted Pietra Quartet.

TICKETS $10 Claude Debussy 1862-1918: Fitters' Workshop Suite bergamasque L 75 6.30pm | 95 mins Prélude Menuet Clair de lune Roger Woodward AC OBE piano Passepied L’isle joyeuse L 106

Frédéric Chopin 1810-1849: Ballade no. 4 in F minor, op. 52

– INTERVAL –

Frédéric Chopin: Join us in Murrumbateman, the heart of Canberra’s wine Études op. 25 district — Shaw Vineyard No. 1 in A-flat major No. 7 in C-sharp minor Estate offers a relaxing escape amongst the vines. No. 2 in F minor No. 8 in D-flat major Visit our impressive Cellar No. 3 in F major No. 9 in G-flat major Door and sample the Estate range of wines whilst No. 4 in A minor No. 10 in B minor browsing an exquisite gallery No. 5 in E minor No. 11 in A minor of hand painted ceramics, NEW CELLAR DOOR OPEN SOON! exclusively sourced from Italy. No. 6 in G-sharp minor No. 12 in C minor Wednesday to Sunday 10am–5pm PREMIUM COOL CLIMATE WINES shawvineyards.com.au This concert is supported by DIANNE & BRIAN ANDERSON (02) 6227 5827 44 45 Debussy at the piano Spanish folklore, yet the entire composition in its The second cycle of Images stems from the end most minute detail, conveys Spain admirably". of 1907 and was published at the beginning of In late 1913, the French composer Debussy sat Préludes and the late Etudes are classic 12 part the next year. Apart from a singular innovation, down at a contraption called a ‘Welte-Mignon constructions in the Bach-Chopin tradition. 'Jardins sous la pluie ' describes a garden in the notation of the highly differentiated piano reproducing piano’ and recorded 14 of his own Chopin because the Polish master had left his the town of Orbec (Normandy) during a violent part on three staves, its language deepens the piano pieces for posterity. The machine was footprints in Paris (as well as several students, rainstorm. Two French folk melodies pop up chemistry of the first cycle. Cloches‘ à travers designed to encode the nuances of the player, one of them being Marie Vauté de Fleurville, amidst the clatter of the rain: 'Nous n'irons plus les feuilles ’ is a study in the mixing of sonorities, including pedaling and dynamics, which could Debussy’s first proper piano teacher). Bach aux bois' and 'Dodo, l'enfant do '. whereas ‘Et la lune descend sur le temple qui then be reproduced onto piano rolls. By all because Chopin’s legacy of 24 Preludes and 24 The two volumes of Images (not to be confused fut ’ conjures up far-off India as well as China; accounts, Debussy was delighted with the result. Etudes had been prompted by a steady diet of with the Images for orchestra) represent "the the third movement was inspired by a Japanese Bach in his native Poland. The piano always was Debussy’s natural most recent discoveries of harmonic chemistry" lacquer painting of goldfish in his workroom. The home, serving as a direct pathway to playing The earliest Debussy work in the two Woodward music at first. Soon enough the instrument recitals is the Suite Bergamasque, written in became a fertile sounding board for harmonic 1890 at the age of 28, but left unpublished till experimentation which led to a number of fifteen years later. The suite's title and its most works that redefined the sound and repertoire famous movement are both related to poems of the instrument. As Debussy put it later in by Paul Verlaine. Originally entitled Promenade life, his piano oeuvre deserved to find a place sentimentale, after another poem by Verlaine, somewhere “to the left of Schumann and to the Debussy had many doubts about the piece but right of Chopin”. Studiously avoiding anything much nudging from his publisher resulted in the resembling ‘Sonata’, his most prominent works change of title to Clair de Lune and its eventual such as Images and Estampes ("Prints") do use release as part of the Suite Bergamasque, a the tri-partite form, whereas the two books of name drawn from the same poem: Votre âme est un paysage choisi Your soul is a chosen land Que vont charmant masques et bergamasques crossed by wand’ring minstrels Claude Debussy at the piano Jouant du luth et dansant et quasi playing lute and dancing, yet almost Tristes sous leurs déguisements fantasques. sad underneath their fancy disguises. in the composer’s own words. This was no idly dedicatee of the third movement, Ricardo Viñes, hyperbolic claim. Behind the flashing arpeggios gave the first performance of the cycle. By the time the Suite was published (1905), a frantic trill like a siren to call everyone on or and shimmering chordal progressions the music Debussy had established his signature style, a off board, ‘C’est un appel’. The piece could be The above-mentioned Marguerite Long along loses its focus, much as one's eyes seem to formidable international standing as a composer described as a wild boat ride to the island, or with Viñes represent the first generation of dilate after gazing intently at an object for any and a reputation as a home-wrecker. L’isle as an even wilder escapade onto the island of pianists who championed this new repertoire. length of time. It is an ingenious agglomeration joyeuse from 1904 is a stand-alone number love, with minstrels, dancers and cupids swept Alfred Cortot and Walter Gieseking became up in the general revelry. Suffice it to say that of whole-tone progressions and endlessly varied great exponents of the Debussy sound by the inspired by Watteau’s painting L’Embarquement the piece is one of Debussy’s most exuberantly pentatonic and chromatic figurations. While the middle of the century and these days we have de Cythère, in which a happy group of revellers virtuosic piano works. most sonorous climaxes of 'Reflets' mirror the benchmark interpretations by Benedetti- depart for/from the mythical island of Cythera powerful sea music of his orchestral output (La Michelangeli, Aimard, Collard and many others The trio of compositions titled Estampes or in the Mediterranean, birthplace of Venus, the Mer most notably), the highly impressionistic to cherish, including Roger Woodward who Prints dates from 1903 and combines three goddess of love. The ‘happy isle’ also refers nature of the coda, with its pattern of three instinctively understood the modernity of contrasting sound pictures. In the text of the however to the Channel Island of Jersey where Debussy’s sound structures and captures the first piece, Pagodes' ' Debussy marked that it descending notes is one of the most memorable Debussy escaped to in 1904 with the wife of a unique chemistry of the writing. should be played "almost without nuance", as if and musically effective the composer ever well known banker, Emma Bardac. It created by an innocent bystander immersed in the bell attained. The second piece honours Rameau By the time Debussy made his piano roll serious scandal in the Paris upper classes, but sounds of the Javanese gamelan. 'La soirée dans in the form of a slow, purposeful Sarabande, recordings, he was 52 years old, and suffering Emma became his second wife, gave him a Grenade ' evokes Moorish Spain as a languid a sombre processional tread in triadic chords from cancer. The deprivations of war and the daughter and much needed solace in the last dance in the Habanera rhythm interwoven with albeit written entirely in Debussy’s own idiom. enduring physical discomfort made his last years of his life . The famous pianist Marguerite a seductive Moorish arabesques. The Spanish The final section, Mouvement'' , is a keyboard years difficult yet strangely productive. He died Long studied L’isle joyeuse with Debussy and composer Manuel de Falla commented that "not toccata, a kind of continuous vibration that less than five years later, on March 25, 1918. quoted him as saying of the start of the piece, even one measure of this music is borrowed from allows for some miraculous sound effects. Roland Peelman

46 47 WEDNESDAY 2 MAY WEDNESDAY 2 MAY

In association with the NATIONAL ARBORETUM CANBERRA and the ANU SCHOOL OF MUSIC In association with CANBERRA GLASSWORKS FESTIVAL EXTRA CONCERT 12 A MUSICAL CONSTITUTIONAL AT THE ARBORETUM GLASS GAMES National Arboretum Starting from the Margaret Whitlam Pavilion 8.30am | 120 mins

After the bushfires of 2001 and 2003, a large Arboretum was constructed and planted across the affected area. Currently The National Arboretum Canberra features 94 forests of different types of rare, endangered and symbolic trees from around Australia and the world. Two forests are nearly one hundred years old. The site offers spectacular views over Canberra, a magnificent Bonsai collection, award-winning infrastructure, and above all trees. In the National Arboretum we can see the forests grow.

This musical walk is art of the Arboretum’s Tree Week. Eugene Ysaÿe 1858-1931: Canberra Glassworks Dairy Farmer’s Hill, ca 8.50am Sonata for violin solo op. 27 no. 2 'Jacques Thibaud' Alex Raupach b. 1989: Obsession – Prelude: Poco vivace 12.00pm | 90 mins ‘On the pulse of morning’ for trumpet solo (WP) Malinconia – Poco lento inspired by the poem by Maya Angelo Danse des ombres – Sarabande (Lento) Claire Edwardes vibraphone Alex Raupach, trumpet Les Furies – Allegro furioso Susanna Borsch recorder

James Wannan viola Bonsai Garden: Roger Smalley: Improvisations by Ned McGowan Landscape with Figures for bassoon solo Anna Da Silva Chen violin

Ned McGowan, flute and contrabass flute Ned McGowan flute 1882-1971 Gallery of Gardens: Magdalenna Krstevska clarinet Three pieces for clarinet solo Especially devised installations and performances Ben Hoadley bassoon Students from ANU School of Music Ned McGowan b. 1970: Fletcher Cox trumpet directed by Dr Kim Cunio Workshop for alto recorder and electronics Dapper's Delight Giacinto Scelsi 1905-1988 Margaret Whitlam Pavillion: Two pieces for Trumpet (1956) Joseph Haydn 1732-1809: Allegretto from String Quartet op. 76 no. 6 Kate Moore b. 1979: 1883-1945: Langsamer Satz Spel (Game) for vibraphone solo Ned McGowan b. 1970: Hymn Benjamin Drury b. 1994: Pietra Quartet Stained Glass for vibraphone and electronics (WP) Commissioned by Arn Sprogis and Margot Woods Followed by morning tea

TICKETS $55 Luciano Berio 1925-2003: Naturale for viola, percussion and tape

This concert is supported by ANONYMOUS WP – WORLD PREMIERE

48 49 Glass Games techniques and means of expression that I can Perth. The vibraphone solo Spel is an extract The ancient art of glass blowing has found a Landscape with Figures, Roger Smalley’s work in one way or other assimilate without a stylistic from Coral Speak, a cycle composed in 2016. welcome contemporary home in Canberra for solo bassoon from 1992 was the start of an break, and that allow me to make a few steps ‘Spel’ means ‘game’ in Dutch, whereas only one Glassworks. This concert aims to give a playful extended investigation of the bassoon leading forward in the search for a unity underlying letter more turns it into magic. musical worlds that are apparently alien to one commentary on the art of glass and the building to a mini concerto (Figures in a Landscape) Commissioned by Arn Sprogis and Margot another.” itself. Essentially it is a sequence of solo works followed by a contrabassoon concerto in the Woods for this year’s festival, the new work for different instruments, exposing the nooks ensuing years. The solo piece was inspired by Giacinto Scelsi, the other Italian represented by Ben Drury Stained Glass also features the and crannies of the old Powerhouse building and Smalley’s memory of a scene in Antonioni's here, could be described as ‘alien’, one of the vibraphone against electronically manipulated showcasing the sonorities of the instruments in film Blow-Up in which a fashion photographer most enigmatic and reclusive figures in 20th‑ sounds, using samples of glasses found in the this most special space. (played by David Hemmings) enters a London century music. Largely unknown during his composer's mother’s kitchen. The work is a After hearing a memorable performance of park at dusk and strolls between an avenue of lifetime, his alternative to the Western modernist direct reference to the sound and perception of Bach’s solo Sonata in G minor by Joseph Szigeti, trees, observing and photographing the various canon embraced music of the East and textural glass as something inherently pure and the long the Belgian violinist/composer Eugène Ysaÿe everyday events that take place around him. idiosyncracy as we encounter it in folk music tradition of changing glass in order to conjure sketched out no less than Six Sonatas in a The isolated staccato notes represent this or improvised music. His best known work is new effects or transform a space visually. fevered twenty-four hours during the summer line of trees interrupted by a sequence of tiny ‘Four pieces on a single note’ used in Martin The American composer/flautistNed McGowan of 1923. He decided to name each Sonata after musical "scenes" - first a brief rapid outburst, Scorcese’s Shutter Island. The four pieces for has an equally strong connection with the one of his peers and appropriate their playing then a sustained legato melody, a scurrying trumpet from 1956 certainly use more than one Netherlands, living in Amsterdam since his style in each piece. Jacques Thibaud, known scale section and a lilting waltz. The excursions note, but its material is concentrated, earthy student days in the 90s. Alex Ross (The Rest is for his elegance and sweet tone, became the become more prolonged, culminating in and otherworldly at once. Noise) commented on McGowan’s music: “If you dedicatee and subject of the second Sonata. the highest register of the bassoon. When Kate Moore was composer-in-residence at are having a slow day, his samples will wake you Ysaÿe had mentored the young French violinist the music comes to a final halt an extended the Festival here in 2015. Her Betty Beaver right up.” The industrial sounds incorporated in for years and knew him well - too well perhaps! coda references the final title in Schumann's commissioned work The Dam went on to earn Workshop are a reminder of the history of this ‘Obsession’ is a reference to Thibaud’s regular Kinderscenen: "The Poet Speaks". her the Matthijs Vermeulen Prijs, the most building as a Powerhouse and the mechanics of warm-up sessions with the Bach’s E Major In the aftermath of WWII, Luciano Berio coveted composition prize in the Netherlands traditional machinery against the nimble human Preludio that starts the work and is quoted became one of the trailblazers of European two years later. She is currently the recipient of skills required to manage them. repeatedly. It is followed immediately with a modernism. His investigations in serial and the National Trust Gallop House Residence in Roland Peelman passage marked ‘brutalement’, about the last post-serial music were balanced with a healthy thing Thibaud was inclined to. The movement appetite for ‘other’ music, be it jazz, pop or folk is notable for its absence of multiple stopping, music, encouraged by his first wife the singer its closeness to the figurations of J S Bach and Cathy Berberian. For her he wrote Folksongs in the introduction of the plainsong ‘Dies irae’. This 1964 and even after their split, several works of well-known hint to hell and all its fury continues his incorporate the raw unstudied utterance to provide the material for the following of folk song. Naturale written for viola solo movements—maybe another private joke? - with the backing of percussion and a tape part except for Malinconia, cast in the mould of a is a remarkable compositional feat, a curious sicilienne, and no doubt designed to show off hybrid and a fascinating reflection on what Thibaud’s delicate tone. we might call ‘natural’. The tape consists of Stravinsky’s Three Pieces for Clarinet solo were raw field recordings of Peppino Celano, from written shortly after the Soldier’s Tale Suite in Palermo in Sicily, singing the complex abbagnate 1919. By this stage the composer had developed or street vendor cries of the region. The viola a mutually beneficial relationship with the Swiss and percussion material itself is derived from philanthropist Werner Reinhard, a keen amateur folk song material the composer used for Voci clarinettist. The three short pieces, a gesture (Folksongs II). Canberra Glassworks ( Lannon Harley) of thanks as much as a study in restraint and In an interview with musicologist David musical concentration, use both the A and Bb Osmond-Smith, Berio discussed his thoughts clarinet. The first two exemplify Stravinsky’s on juxtaposing two media of folk origins: “I’m Russian manner whereas the last one resembles not an ethnomusicologist, just a pragmatic the ragtime music in Soldier’s Tale. egoist. I tend to be interested only in those folk 50 51 WEDNESDAY 2 MAY Ulysses: from Homer to Monteverdi

Keep Ithaka always in your mind. Arriving there is what you are destined for. CONCERT 13 But do not hurry the journey at all. Better if it lasts for years, ULYSSES NOW So you are old by the time you reach the island, Wealthy with all you have gained on the way, Not expecting Ithaka to make you rich. C.P. Cavafy (1863-1933), from the poem Ithaka (1911)

thaka is the central place of action in First staged during the 1639–40 Venice carnival IMonteverdi’s Venetian opera Il Ritorno di by the theatrical company of Manelli and Ferrari, Ulisse in Patria from the late 1630s. Long before the work received a Bologna season before Cavafy wrote his Ithaka poem, Ulysses’ place being revived in Venice the next year. There is of origin and place of destiny was immortalized evidence that the work may have become one th by Homer as a symbol of marital faithfulness of the most popular operas in the 17 century before disappearing into obscurity. What G.G. Kapsberger ca 1580-1651: and as a mythical pole of attraction, the thing Fitters' Workshop remains of the original score has not been 'Sfessania' and 'Passacaglia' we call ‘home’. Penelope keeping the home 6.30pm | 100 mins fires burning whilst knitting prodigiously and without controversy. How much is missing? How Claudio Monteverdi 1567-1643: steadfastly rejecting a long list of suitors, may to orchestrate it? How to cast it? A multitude Scenes from Il ritorno d'Ulisse in patria SV 325 (1640) of characters (anything from Gods to mortals I Bassifondi not be the central idea in Homer’s epic, but Prologo in Monteverdi’s opera she became the chief and much in between) can be reduced to 14 Kate Howden mezzo-soprano Act I scene 1: Penelope’s Lament – ‘Di misera regina’ protagonist. Her counterpart Ulysses is the singers with multiple doublings, and the ‘open’ Andrew Fysh OAM bass score offers as much scope for extension as for Act I scene 5: Neptune at sea – ‘Superbo è l’huom’ warrior who, having spent ten long years in the countertenor reduction. Every single production of the piece Tobias Cole siege of Troy, securing victory after treachery, Act I scene 6: Chorus of Phæacians since the early 20th century has made different Dan Walker tenor butchery and debauchery – the things men do Act II scene 5: ‘Non voglio amar’ decisions. In tonight’s performance, using a Chloe Lankshear soprano in war – then takes just as many years to find modest ensemble of period instruments, we Wynton Johnstone treble his way back home. The Gods are not kind to – INTERVAL – concentrate on a few highlights, including the AJ America mezzo-soprano him, and as befits the Olympian household, remarkable Prologue, Penelope’s impassioned change their minds frequently about the poor Alex Pozniak b. 1982: Luminescence Chamber solo moments, Neptune’s rants, and one palace man’s punishment or reward. The obstacles are In Search of Asylum for piano quartet (2014) Singers scene with the suitors. fierce, the adventures and temptations equally Cecilia Bernardini baroque violin Mary Finsterer b. 1962: daunting, but his return to the island, aided by his Opera was a novel affair in the early 17th century, Stephen Freeman viola da braccio Angelus for clarinet, cello and piano (2015) grown-up son and not without some additional but its meteoric rise in popularity is due in no Veronique Serret violin scheming, is inevitable. small measure to the wealth of the Northern Robert Davidson b. 1965 and Stephanie Arnold b. 1986,: James Wannan viola Italian city states, and a growing mercantile class Across the Water (2016) Homer’s tale covers all of the latter, the sack Christopher Pidcock cello with a taste for entertainment. Opera brought of Troy, the escape, and Ulysses’ chequered Susanna Borsch recorder the great stories of the past alive in the form journey home with distractions and calamities of elaborate spectacle, complete with music, Magdalenna Krstevska clarinet a plenty on the way, only to find his palace dance, design and theatre tricks. It is easy to Stephanie Arnold cello swarming with men upon his arrival. Monteverdi’s see how the Ulysses story could provide all Rachael Shipard piano opera concentrates on the homecoming and of the above in spades. The work starts with Roland Peelman piano, harpsichord the subsequent struggle to prove his true an extended allegory featuring Time as an old identity and reassert his authority, but not man, Man himself in his most vulnerable state before painting Penelope centre-stage and (L' Umana Fragilità), at the mercy of fickle Lady transforming the epic about a man on a difficult Luck (Fortuna) and young mindless warrior journey into a grand parable of marital love. Cupid always ready to strike (Amor). By the time 52 53 a woman of flesh and blood, Penelope, makes of these scenes we perform tonight, the first Ulysses now her entrance emboldened by responsibility and being the scene where the Phaeacians bring n an age where intercontinental travel is Mary Finsterer’s Angelus returns to a sequence nurtured by love, we understand her plight and Ulysses to their shore in defiance of the Gods. commonplace and interstellar travel is on of triadic chords that defies any sense of through her, the plight of Ulysses. ‘Di misera For their just reward they are turned into stone! I the cards, the notion of a modern Ulysses strict metre. Inspired by the eponymous 1859 regina’ is a most private and tortured moment The second one from Act II is a pivotal palace figure might seem conveniently obsolete. Yet painting of Jean-François Millet, Finsterer uses of a woman in power, with music to match, a scene that places Penelope’s heart of stone the travelers who do encounter obstacles, Gregorian chant, the basis for the century-old dramatic recitative that wanders in and out of against three of the suitors who have their eyes repression, rejection, abandonment or Angelus tradition, elongated and suspended by ‘song’ following her state of mind. In comparison, set on a wedding with “singing and dancing”. It is internment, the ones who are forced to flee the clarinet and cello above the piano’s chord Neptune’s scene ‘Superbo è l´uom’ ('Isn’t a deliciously calibrated scene where the music warfare, terrorism and sectarian violence progressions. It provides the piece with a serene man great?') is hollow bluster. One of several accurately reflects the underlying conflict. All are amongst us. According to United Nations arch of eternal calm or acceptance, recalling the moments in the opera that feature this most the plotting and scheming eventually culminates statistics, there were about 65.6 million people image of Millet’s peasant couple, heads bowed antagonistic of gods, Neptune’s virtuosic bass in a grand contest of archery. The suitors are forcibly displaced across the globe in 2016 in prayer in the middle of the fields. tirade paints the boiling of his blood as much as defeated and, after twenty years, Penelope and and 22.5 million refugees worldwide. The that of the seas. Most of the ensemble scenes Ulysses are reunited. Across the Water emerged out of oral history unprecedented level of migration from North in the opera feature three voices, whether they interviews that Stephanie Arnold conducted Roland Peelman Africa and the Middle East to Europe during be Phaeacians or Gods, suitors or sirens. Two with Melbourne-based asylum seekers. It uses 2016, ca 1.2 million people, put tremendous Robert Davidson’s compositional technique pressure on social services in countries such of translating pitch, rhythm and prosody, as Italy, Germany and Greece. And we are Il Ritorno d'Ulisse in Patria emphasis, pauses and hesitations of recorded di all witnessing the political consequences, speech into music. Claudio Monteverdi a resurgent extreme right anti-immigration backlash, barely contained by Europe’s While the asylum issue has been part of the Penelope Kate Howden mezzo-soprano parliamentary democracies. national conversation for many years, it remains Il Tempo / Neptune / Antinoos Andrew Fysh OAM bass The three works in the second half of this a challenge for the Australian public to engage L’humana fragilita / Anfinomo Tobias Cole countertenor concert allude to the plight of asylum seekers, directly with asylum seekers. A greater awareness Pisandro Dan Walker tenor of their opinions and perspectives can support La Fortuna Chloe Lankshear soprano directly and indirectly. Sydney-based Alex the control and authority asylum seekers have Amore Wynton Johnstone treble Pozniak’s Piano Quartet ‘In search of Asylum’ over their story. For the asylum seekers involved Ericlea AJ America mezzo-soprano was written three years ago for an Australia in this work, this kind of acknowledgement is a Luminescence Chamber Singers Piano Quartet project around asylum seekers sign of listening, understanding and respect. directed from the harpsichord by and Australia’s off-shore detention policy, Roland Peelman which though embraced by both main political Thus, Across the Water is about the act of parties, has been contentious, scandal-plagued listening itself. The use of speech melody, and expensive. The work explores the extreme repeated, edited phrases and musical imagery sonic possibilities of the four instruments in challenges audiences to listen not just to what is fairly anguished textures opening up into a more being said, but how it is being said, and to imagine spacious harmonic spectrum towards the end and understand why it might be said. of the piece. Roland Peelman

Companion House is a community- based organisation that works with adults and children who have sought safety in Australia from persecution, torture and war-related trauma.

Donations to Companion House make a real difference towards a range of support services not otherwise available through other funding sources. Portrait of a Musician, thought to be Claudio Monteverdi, c.1590. www.companionhouse.org.au

54 55 WEDNESDAY 2 MAY THURSDAY 3 MAY In association with MUSE CANBERRA In association with STRATHNAIRN ARTS, BRINDABELLA HILLS WINERY, CLEMENTINE RESTAURANT FESTIVAL EXTRA and LOVAT CHAPEL, ST. AUGUSTINE'S PARISH, YASS ANNUAL FESTIVAL TRIP FESTIVAL at MUSE Muse Canberra (East Hotel) TASTE OF THE COUNTRY 69 Canberra Avenue 9.00pm | 60 mins

Ned McGowan (flutes) with Claire Edwardes (percussion) Two extraordinary musicians let their hair down at a small recital in Canberra’s artiest evening club.

TICKETS: $55 (includes a glass of wine and cheese plate) Strathnairn Arts: Strathnairn Arts More information at www.musecanberra.com.au Adrian Brown Brindabella Hills Winery with help from Susanna Borsch: Clementine Restaurant A Little Bit of Cucumber Lovat Chapel, Yass th A somewhat risqué Cockney Music Hall song from the late 19 century 8.30am - c. 4.00pm The Trees They Do Grow High A British folk song with dark medieval undertones of love and death Adrian Brown anglo concertina

Jim Jones Susanna Borsch recorder & voice An Australian folk song from the transportation era I Bassifondi: The Ballad of Grace Darling Simone Vallerotonda A patriotic song about the heroine (and possibly the first English theorbo. guitars, direction “celebrity”) from the mid 19th century Gabriele Miracle

percussion Brindabella Hills Winery Federico Toffano I Bassifondi play: colascione & chitarra battente Dances by Foscarini, Kapsberger and de Murcia Pietra Quartet Lovat Chapel, Yass Anna Da Silva Chen violin Pietra Quartet plays: Benjamin Tjoa violin Joseph Haydn 1732-1809 Justin Julian viola String Quartet op. 76 no. 6 in E-flat major (1796/7) Miles Mullin-Chivers cello Allegretto Fantasia. Adagio Minuet - Alternativo Finale. Allegro spirituoso

56 Muse 02 6178 0024 57 FOOD, WINE & BOOKS www.musecanberra.com.au THURSDAY 3 MAY THURSDAY 3 MAY FREE EVENT MUSIC FOR LUNCH CONCERT 14 NGA Fairfax Theatre 12.45pm | 30 mins ORAVA QUARTET

Rachael Shipard Theme and Variations Foundation 2017 Award Recipient plays:

Johann Sebastian Bach 1685-1750, arr. F. Busoni Chaconne in D Minor BWV 1004 1866-1924 Variations and Fugue in free form on Chopin's Prelude in C Minor op 22 (Variationen und Fuge in freier Form über Fr. Chopin's c-moll Präludium, K213)

The Theme & Variations Foundation was formed by Ara and Nyree Vartoukian to encourage and support exceptional young Australian pianists. With the help of friends and colleagues who share a passion for music and pianos, the Joseph Haydn 1732-1809: Fitters' Workshop foundation took shape in late 2011 and was officially launched at the NSW Government House in the presence of String Quartet No. 30 in E-flat, 'The Joke', op. 33 no. 2 Hob. III:38 (1782) Her Excellency Professor Marie Bashir and Mr. Vladimir Ashkenazy on 14th February 2012. 6.00pm | 75 mins Allegro moderato THURSDAY 3 MAY Scherzo: Allegro Orava Quartet: Largo Daniel Kowalik violin Supported by the AINSLIE + GORMAN ARTS CENTRES Presto David Dalseno violin FESTIVAL EXTRA Thomas Chawner viola Sergei Rachmaninov 1873-1943: Karol Kowalik cello TALK OF THE TOWN - DUTCH TREAT Romance and Scherzo (String Quartet No. 1) (1889) Romance. Andante espressivo Gorman Arts Centre - Main Hall Scherzo. Allegro 55 Ainslie Avenue, Braddon

2.00pm | 60 mins Claude Debussy 1862-1918: String Quartet in G Minor L 85 (1893) Festival Artistic Director Roland Peelman in conversation with four international festival artists who all call Amsterdam home: Animé et très décidé celebrated fortepiano specialist Keiko Shichijo, flautist and Assez vif et bien rythmé composer Ned McGowan along with Adrian Brown Andantino, doucement expressif and Susanna Borsch from Dapper’s Delight. Très modéré – En animant peu à peu – Très mouvementé et avec passion All four have carved out a unique creative pathway in a very competitive environment.

TICKETS $10

This concert is supported by MARJORIE LINDENMAYER

58 59 Joseph Haydn: String Quartet No. 30 in E-flat, 'The Joke' Claude Debussy: String Quartet in G Minor ebussy’s String Quartet, written in 1893, The scherzo movement features many new n 1781, after a lapse of ten years, a 49-year- suffices for a varied and inventive movement. has become one of the most beloved in versions of this theme: one playful and jaunty old Joseph Haydn returned to the string The Scherzo is an Austrian peasant dance known D I the repertoire partly because of the stunning which becomes an ostinato background, a quartet, composing a set of six and published as as a Schuhplattler, with heavy repeated chords to sensual beauty and variety of textures more seductive, drawn-out version, plus a Op. 33 by Artaria in Vienna. The publication bore accompany the stamping of feet. Mozart seems Debussy manages to create with these four bravura declamatory version on the lowest a dedication to the “Grand Duke of Russia” and to have taken this movement as the model for homogeneous string instruments. The sounds string of the first violin. This last, somewhat so these quartets are commonly known as the the minuet in his own E-flat major Quartet, K428. he creates flutter and undulate; his harmonic unexpected, version is perhaps a tip of the hat to “Russian” quartets. Perhaps In the trio the first violin language is often iridescent. Turner was one Eugene Ysaÿe, the great Belgian violinist whose most famous is the second gives a graphic imitation of of Debussy’s favorite painters, and the sense eponymous quartet premiered the work. quartet in E-flat: the comic an Austrian village fiddler, of motion and activity one sees in Turner’s disintegration of the theme complete with deliciously The slow movement is the only one not to offer skies and seas has aural analogues in so many in the bubbly tarantella finale, vulgar slides (glissandi) a version of the motto theme. Instead, there moments of this piece. repeatedly fooling the listener between notes that were is an encounter with the new, the other. In the as to whether the piece has eschewed by squeamish The piece also has a dramatic arc reminiscent of same key (very distant from the opening key ended or not, has spawned nineteenth-century an epic journey in that one ‘motto theme,’ stated of the work) and metre as the corresponding, the quartet’s English nickname editors. at the opening of the piece, appears throughout and likewise profoundly eloquent, movement ‘The Joke’. The story goes that in different guises and in a variety of settings. This of Beethoven’s last quartet, Op. 135, this Amid all this frivolity, the Haydn wrote the ending in order theme is transformed rather than developed in movement also starts out with exploratory bars Largo e sostenuto third to win a bet that ‘the ladies will the traditional sense. Because of this a listener leading into a broad, poetic theme. This, plus the movement introduces a always begin talking’ before the may feel he is following a protagonist through addition of mutes, gives a distant, introspective note of gentle gravity. It music stops. His outrageous travels in unexpected lands, in the manner of quality to the movement. opens, unprecedentedly in Haydn’s quartets, deception can still throw listeners of both sexes Homer’s Odyssey or, to get back to France, with a solemn duet for viola and cello before The most uncertain part of the work is the start (Clara Schumann wrote of how she laughed Voltaire’s Candide. the two violins repeat the melody, intermittently of the last movement: the return of the motto aloud after a performance by the Joachim cushioned by drowsy cello murmurs. On each As any hero feels on his home turf, the initial theme, chords that slip languidly, even groggily, Quartet.) reappearance Haydn enriches the texture: first statement of the theme is forthright and self- and a section that builds up steam with the main The relaxed first movement encapsulates in a trio, with the melody in the second violin, assured, but it quickly slips away into uncharted theme gathering momentum to lead into the Op. 33’s prevailing spirit of easy, conversational then finally in a full quartet sonority, with the viola territory. Already after its first encounter with main section of the movement proper. There give-and-take, and is a locus classicus of Haydn’s creating a wonderfully eloquent counterpoint alien material the theme is more uncertain, is a sense of preparing for a homecoming, the famed monothematicism, where a single idea from the murmuring semiquavers. modulating through various key areas looking for recounting of adventures, and there are two from notes by Richard Wigmore a way to understand new surroundings. Often major climaxes both featuring the motto theme one recognizes the theme in flight, or at sea, in full splendor. When the pace quickens twice in transition from one experience to the next; as the piece nears its conclusion there is a sense Romance and Scherzo (String Quartet No. 1) Sergei Rachmaninov: other times it is self-assured again, as if settled of great excitement and triumph. The hero has achmaninov made two attempts at writing long, languid lines, some commentators have in a new territory, albeit temporarily. The first returned home, and this home is now bright a string quartet. Both works were left seen it as the spiritual twin of the Andante R movement ends with a furiously brilliant version with the possibilities of lessons won through unfinished, each with only two movements. cantabile from Tchaikovsky’s first quartet. of the motto theme in double notes, fully experience, now in G-major rather than G-minor Not, therefore, being a quartet in the traditional Together, this Romance and the genial Scherzo mobilized, in contrast to its more stable, if full of as it was at the start. sonata-form structure, the first has been were the first orchestral performances of the potential, version at the opening. published under the title ‘Two Movements for young Rachmaninov – in 1890, he had arranged Mark Steinberg String Quartet’. The first of these movements, the pieces for string orchestra for an Open entitled 'Romance', dates from 1889–90 when, Beginners’ Concert at the Conservatoire. at age seventeen, the composer was still a from notes by Cyrus Meher-Homji student at the Moscow Conservatoire. With its Save the Date: 3-12 May 2019 www.cimf.org.au/25years

60 61 CANBERRA THEATRE CENTRE AND THE MUSIC HOUSE PRESENT

THURSDAY 3 MAY

GUARDIAN Presented by THE CANBERRA THEATRE CENTRE in association with BRINK PRODUCTIONS CONCERT 15 ALL MUSIC THE ASPIRATIONS OF DAISE MORROW

ALL ABOUT JAZZ

THE ONLY DEATH TO FEAR IS THE DEATH OF LOVE Canberra Theatre A word-for-word adaptation of Patrick White’s short story Down at the 8.00pm | 80 mins Dump, featuring the Zephyr Quartet. Brutally funny, profound in its understanding of human nature, and filled with magic and wonder. Actors, musicians and audience share the space in a circle of burnt earth beneath a canvas of Australian sky. The work shifts and swirls, Cast: drawing the audience into the sensual immediacy of a strangely Paul Blackwell familiar world – the suburb of Barranugli. Lucy Lehmann PERFORMANCES Genevieve Picot Tuesday, 1 May: James Smith 7.00pm pre-show talk with Director Chris Drummond, Zephyr Quartet: 8.00PM showtime Wednesday, 2 May: Belinda Gehlert violin 8.00PM Emily Tulloch violin

Thursday, 3 May: Jason Thomas viola 8.00PM, followed by post show Q&A Hilary Kleinig cello Friday, 4 May: 8.00PM Director: Saturday, 5 May: Chris Drummond 2.00 Designer: 8.00PM Michael Hankin

For 2018 CIMF Pass Holders, the 3 May performance is included in the 23-concert Musical Director: package. Others wishing to attend this performance must purchase tickets Hilary Kleinig directly from Canberra Theatre. Choose Your Own Adventure pass purchasers and Pro Musica members are eligible for a 10% discount on tickets for any performance. Contact the Festival Office for more details. Patrick White 1989 (Barry Jones)

62 63 Some young players FRIDAY 4 MAY

In association with the CANBERRA GRAMMAR SCHOOL and MUSICA VIVA IN SCHOOLS CONCERT 16 RETURN TO BASICS

Jessica Oddie Fletcher Cox Peter Clark

From the Quill to the Cloud Canberra Grammar School Oliver Shermacher Wynton Johnstone Helena Popovic A series of presentations that highlight the relationship between music and technology through the ages, featuring: Performing Arts Centre, Tim Murray Theatre Benjamin Bagby: The oral traditions and the early history of Western notation 11.00am | ca. 90 mins Simone Vallerotonda and I Bassifondi, lute, theorbo: Music in the wake of the printing press – 16th century part books and tablatures Cecilia Bernardini, violin : The burgeoning publishing industry in the early 19th century Adrian Brown: Rachael_Shipard Tobias Aan Magdalenna Krstevska A garden of earthly delights – performing historical popular music today Ned McGowan: From analog to digital: modern notation and recording technology, self publishing, and the meeting of sounds acoustic and electronic

Followed by a Q&A with the artists and Pietra Quartet Mary Finsterer, composer in residence Kompactus Luminescence

64 65 WIN A HARVEST OF RICHES WITH THE CANBERRA INTERNATIONAL MUSIC FESTIVAL AUTUMN RAFFLE FRIDAY 4 MAY

CONCERT 17 A SOLDIER'S RETURN

Support our Festival by purchasing a ticket for our Autumn Raffle and enter the draw for six fantastic grand prizes totalling $5696, including a beautiful autumnal water colour painting from artist Ken Unsworth (value $2000).

This year, 10% of all proceeds will go towards the cost of music scholarships for 10-12 children from refugee backgrounds. This is a collaboration between Companion House, Music for Canberra and Ainslie and Gorman Arts Centres.

TICKETS ARE JUST $20 FOR 3, OR $10 EACH Tickets available in the Festival marquee or buy online at www.cimf.org.au/raffle Peter Meechan b. 1980: Fitters' Workshop Permit No ACT R 18/00039 Letters for Home (2014): Full terms and conditions and list of prizes available at cimf.org.au/raffle (i) The Bittersweet Love Song (ii) The Trench (iii) In Memory 7.30pm | 135 mins

Jodie Blackshaw b. 1971: Canberra Wind Symphony CANBERRA CHORAL SOCIETY AND Season of Song The Bitter and the Sweet (WP) THE NATIONAL CAPITAL ORCHESTRA PRESENT dir. Geoff Grey presents Tim Fain violin David R. Holsinger b. 1945: In the Spring, at the time when Kings go off to war (1988) Jacqueline Dossor double bass

Magdalenna Krstevska clarinet Samuel R. Hazo b. 1966: Ben Hoadley bassoon Chorus Angelorum (2009) SONGS Fletcher Cox trumpet James Barnes b. 1949: Nigel Crocker trombone FROM THE Lonely Beach (1992) Claire Edwardes percussion Poems (in order of reading): BELLE ÉPOQUE Paul English narrator Bec Lally: All for the price of your worthless self LAETITIA GRIMALDI Phil Courtney: Haiku Elissa Croker: Six Human Emotions SOPRANO Heath Schofield: Not My Choice AMMIEL BUSHAKEVITZ Brad Mackay: My Kabul Job PIANO Scott Grainger: Declaration Heath Schofield: Edge of the World French soprano Laetitia Grimaldi and South African-Israeli – INTERVAL – pianist Ammiel Bushakevitz Igor Stravinsky 1882-1971 perform songs by Fauré, Massenet, Hahn & Duparc, L’histoire du soldat (The Soldier’s Tale) (1918) presented in the style of a Parisian salon concert. A COMIC ORATORIO BY ERIC IDLE & JOHN DUPREZ

BASED ON MONTY PYTHON’S LIFE OF BRIAN TH 2 JUNE 2018 SUNDAY 13 MAY 2018 AT 3PM BY ARRANGEMENT WITH ORIGIN™ THEATRICAL ON BEHALF OF @LLEWELLYN HALL This concert is supported by GAIL FORD THEATRICAL RIGHTS WORLDWIDE, NEW YORK. WP – WORLD PREMIERE Wesley Music Centre, 20 National Circuit, Forrest Admission, incl. program & refreshments $35; concessions. National Capital 66 TICKETS AVAILABLE NOW! 67 Tickets at door or online: www.trybooking.com/UYXH OrchestrA www.ticketek.com.au Musical Director Leonard Weiss www.artsongcanberra.org 6286 7373

CCS_NOT THE MESSIAH_A5 AD.indd 5 4/4/18 9:12 am The Canberra Wind Symphony sound Stravinsky’s 1918 Soldier’s Tale The wind orchestra genre emerged in the 1950s used dissonance and consonance to recognise Part 1 to showcase the diverse possibilities of blending this struggle, enabling beautiful glimpses The Soldier's March Pastorale certain woodwinds, brass and percussion. Unlike amongst moments of pain and reflection. An Airs Beside a Stream Airs Beside a Stream (reprise 1) military bands or community concert bands, allusion to the ‘Last Post’ and an airy, foreboding The Soldier's March (reprise 1) Airs Beside a Stream (reprise 2) the instrumentation of the wind orchestra soundscape end the work, reflecting upon a is specifically one player per part (with the soldier’s last moments on the battlefield, and Part 2 exception of clarinets where doubling occurs, as the thanks and blessings we count each and The Soldier's March (reprise 2) The Devil's Dance parts are often divisi). This effectively makes it a every day for their sacrifice. Royal March Little Chorale 35 to 40-piece chamber ensemble, featuring all Peter Meechan’s Letters for Home also reflects Little Concert The Devil's Song musicians as equally significant contributors. on the stronger emotions that form part of Three Dances: Great Chorale Over the past 30 to 40 years the repertoire a warrior’s thoughts during conflict.David 1. Tango; 2. Waltz; 3. Ragtime Triumphal March of the Devil has evolved from its band-like origins to the Holsinger’s work, inspired by the verse from vibrant contemporary classical art music Chronicles 20:1-3, takes us into the Biblical battle fter the 1913 succès de scandale of The It might have surprised his Russian fans, but now being created, with genre-leading writers itself: the assault of King David’s army, led by Rite of Spring, Stravinsky joined a not Stravinsky‘s ability to take on a foreign concept telling their stories with the beautiful colours, Joab, upon the cities of the Ammonites. Samuel A inconsiderable coterie of Russian expatriates and turn it in something new and undoubtedly striking textures and intriguing rhythms that this R. Hazo’s Chorus Angelorum has similar biblical in Switzerland. Neither a revolutionary like ‘Stravinsky’ was a sign of things to come. Some seemingly mismatched group of instruments overtones: a chorus of angels accompanies two comrade Lenin nor a nascent Dadaist (the writers have compared this with Brecht’s creates. souls to the next world. As a memorial piece, movement grew from Cabaret Voltaire in Verfremdungseffekt – 'alienation' techniques. the music evolves from the initial angels' song, Tonight’s program features recent work by Zürich 1916), he needed a safe haven for his To write a piece about a soldier selling his soul through their journey to heaven, and ultimately American, Canadian composers as well as a young family and a convenient base to work to the devil after four years of catastrophic their return to comfort those who mourn. newly commissioned premiere by the Australian from, ideally in the vicinity of a few wealthy casualties takes a sharp critical mind and composer Jodie Blackshaw. Her new piece is Lonely Beach by James Barnes is as confronting patrons. After getting his German nanny out of some chutzpah. But to coin the piece as a dark the second movement from a larger work based and aggressive as it is calming and beautiful. A St Petersburg he settled down on the outskirts burlesque takes the cunning of a survivor. on Leunig’s Prayer Book. It reflects upon those soldier stands before a major battle amongst of Montreux and Lausanne. The times were no The story for L’histoire du soldat was drawn Australians who fell in France in 1918 during the 10,000 brothers-in-arms … yet he feels so longer right for lavish productions. Straightened from the writings of Afanasyev with the help Battle of Hamel. desperately lonely. Through him we experience circumstances thus prompted an artistic of the Swiss writer C.F. Ramuz. It deals with the fragility, terror, sacrifice, loss and, ultimately, volte-face, the first (and not the last) major The title refers to Leunig’s words “fade and quintessential Faustian pact between good and the realisation that no matter how persistent change of direction in his long career. Gone are die”, with countless soldiers lying in unmarked evil coated in a folk tale about a simple soldier humans are with self-destruction, the day the colourful extravagances of late romantic graves. Also, how bitter, and how sweet it must who returns from battle (a deserter?) and sells following will yet dawn. symphonic writing. Gone is the exuberance of have seemed for the men and women returning his soul (his violin) to the devil in return for a book a young composer with the world at his feet. home without their comrades. Blackshaw has on stock market predictions (particularly in the Instead he finds himself writing for smallad hoc arms industry). There is no singing, only “reading, ensembles enforced by the grim deprivations of The Australian Defence Force Arts for Recovery, Resilience, Teamwork and Skills Program playing and dancing”, with an instrumental septet war. His source of inspiration remained Russian (ADF ARRTS) and four roles – in our performance taken by one fair and square: the village wedding of Les Noces, This Program is held biannually in Canberra for the workforce and society. Geoff Grey (the single actor. The tersely chiselled dances and the folk tale of Renard and a slew of small pieces serving wounded, injured or ill members of the Lieutenant Colonel version) is the foundation marches that make up the score for The Soldier’s such as Pribaoutki or the Berceuses du chat. ADF. It is a no-uniform, no-rank, non-judgemental Artistic Director of the program, and the Creative Tale drive the action, envisaged for a makeshift But other things also started to enter his life. His introduction to the arts-based pursuits of Music Producer for its output showcase. stage with minimal props and ‘crude’ acting friend the Swiss conductor Ernest Ansermet & Rhythm, Visual Arts, Acting & Performance, The poems presented in this performance that befits a folktale. The work was premiered in had brought back a collection of ragtimes and Creative Writing. Its foundation lies in trust, were created by participants in the ADF ARRTS Lausanne on 28 September 1918 with the help from US. Before long, three different Ragtimes respect and self-honesty … and fun! Program Creative Writing stream. The writers of Swiss philanthropist Werner Reinhart, a keen enriched the Stravinsky catalogue, one as part Since May 2015, 134 men and women have were variously mentored by Assoc Profs Tony clarinetist to whom the work is dedicated. of The Soldier’s Tale. embraced this unique opportunity for re- Eaton, Jordan William and Paul Magee and Dr Roland Peelman finding their purpose, enhancing reintegration Owen Bullock from the University of Canberra’s with families, and re-engagement with both Faculty of Arts and Design. 68 69 SATURDAY 5 MAY

Everything you need to know about CONCERT 18 Canberra. One destination. I BASSIFONDI

hercanberra.com.au

Giovanni Paolo Foscarini 1600-1647 Gagliarda francese Fitters' Workshop Li cinque libri della chitarra alla spagnola, Passacaglia sopra la O Roma, 1640 Aria di Firenze per la A e C 11.00am | 70 mins

Hieronimus Kapsberger 1580-1651 Toccata arpeggiata Libro IV d’intavolatura di chitarone, Sfessania Simone Vallerotonda Roma, 1640 Passacaglia theorbo, guitars & direction Colascione Gabriele Miracle Antonio Carbonchi 17th c. Scaramanzie percussion Le dodici chitarra spostate, Firenze 1642 Jacaras Federico Toffano colascione & chitarra battente Ferdinando Valdambrini romano 17th c. Capona Libro I & II di chitarra, Roma 1646

Angelo Michele Bartolotti ?- before 1682 Passacaglia per la D Secondo libro di chitarra, Roma 1655

Francesco Corbetta 1615-1681 Passacaglia per la X Varii capriccii per la ghittarra spagnuola, Milano 1643

Alessandro Piccinini 1566-1638 Partite sopra l’aria francese Intavolatura di Chitarrone libro II, Corrente Bologna 1639

Santiago de Murcia 1673-1739 Cumbées Codex Saldìvar, Città del Messico, 1732 Folias gallegas I BASSIFONDI is supported Zarambeque y muecas by CIDIM - COMITATO Tarantelas NATIONALE ITALIANO MUSICA

FOOD • STYLE • ART • CULTURE This concert is supported by MARGOT WOODS & ARN SPROGIS

EVENTS • ENTERTAINMENT • MORE

70 71 False Alphabet – When Letters Hide Something SATURDAY 5 MAY he treatise Nuova inventione d’intavolatura, varied technique of rasgueado (also known Tper sonare li balletti sopra la chitarra as picco e repicco, or quick strumming) spagniuola (“A newly invented tablature for capable of realizing any kind of rhythm – was CONCERT 19 playing balletti on the Spanish guitar”), published a distinguishing feature for guitarists. Next to in 1606 by Girolamo Montesardo, radically the ordinary alphabet, they used to employ THE TROUT revolutionized the way to write and perform a complementary alter ego of sorts: the guitar music. For the first time, an extremely alfabeto falso - false alphabet. It included the practical guitar notation was proposed: the same chords as the former, but “dirtied” with alphabet. It consisted in the correspondence extraneous and crushed notes (acciaccaturas). between any chord, whether major or minor, and The idea of using chords as harmonic colour was a letter. This simplified way of writing enabled therefore put into practice for the first time by any amateur or professional musician who Italian guitarists of the early 17th century, who owned a guitar to play a dance or accompany made it their own unique speciality. a voice, by performing the "letters" written on Mirroring a typical instrumental session in a single stave with superimposed rhythmic 17th‑century Italy, this morning's program information. The proliferation of works printed in features some of the most representative alphabetical notation, including favourite tunes, works of that period in the same spirit of sharing ground basses, dances, was soon enormous. and improvisation – a particular characteristic This "language" – conveying a precious and of the ancient way of making music together. Franz Schubert 1798-1828: Fitters' Workshop Sonata in D major for violin and piano, D 384 3.00pm | 70 mins Allegro molto Andante Keiko Shichijo fortepiano Allegro vivace (Graf, Vienna 1812)

Cecilia Bernardini classical violin Ludwig van Beethoven 1770-1827: Daniel Yeadon classical cello Trio in E-flat op. 70 no. 2 James Wannan classical viola Poco sostenuto – Allegro, ma non troppo Jacqueline Dossor Allegretto classical double bass Allegretto ma non troppo Finale. Allegro, E-flat major

– INTERVAL –

Franz Schubert 1798-1828: Quintet in A major “The Trout” D 667 Allegro vivace Andante Scherzo: Presto I Bassifondi. Photo: Matteo Casilli Andantino – Allegretto Allegro giusto DANIEL YEADON appears courtesy of the SYDNEY CONSERVATORIUM OF MUSIC

This concert is supported by MARGARET FREY and ANONYMOUS

72 73 Schubert in happy times Ludwig van Beethoven: Trio in E-flat op. 70 no. 2 Schubert began composing The Trout Quintet the evening of a gathering with friends during the Much of the early development of the piano trio classically poised. If we needed any convincing in 1819, while on holiday in Steyr, in the Alps. course of which he “made the acquaintance of genre as we know it occurred in tandem with about the cello’s long awaited emancipation, His friendship with the town’s amateur cellist one glass too many of a strong punch”! technological advancements of the fortepiano. here it is. The work begins with a cello solo, joined Sylvester Paumgartner led to a commission for a In the early days, the string players needed to by violin and only then the piano, a pattern The Trout Quintet is a leisurely work, conceived piano quintet that includes a set of variations on avoid overpowering the fortepiano. As the piano maintained through most of the first movement during the 1819 summer holidays, lubricated the song that lent its name to this popular work: became stronger and more resonant, the need until reversed in the recapitulation. The mood is no doubt by Paumgartner’s own punch, and Die Forelle or The Trout. for restraint shifted to the pianist. This explains quizzical, unresolved and rather than serving as completed in the autumn of that year upon why Haydn piano trios started off as masterfully introduction, the opening statement continues Schubert had composed the song two years his return to Vienna. The instrumentation is accompanied piano sonatas. Mozart strove for to define the central tension in the first earlier in 1817 on a poem by a certain Christian unusual, including a part for double bass rather a different three-part balance, but resisted the movement. Friedrich Daniel Schubart (1739-1791), variously than second violin. Mr Paumgartner probably cello somewhat. By the time Beethoven burst described as a feeble writer of doggerels or as received more than he had bargained for: a The second movement could be seen as a onto the scene, the fortepiano was gaining a maligned genius. Schubart was a gifted writer generously laid-out work in five movements. homage to his predecessors Mozart and Haydn, in strength and in size: first five, then six and and musician but also a bit of a rogue. The The central key of A Major in Schubert’s tonal but not as from a student paying his dues. eventually six and a half octaves. He perfectly combination of amorous adventures, outspoken spectrum almost always suggests a bright This is the voice of a master who recognizes understood the challenge and the opportunity, new ideas straight out of the Enlightenment atmosphere, from convivial to amiable. There the traits of both but has utter confidence in to judge from his first published opus in 1795. By textbook and a modern taste in music did is no sense of great drama, turmoil or deep his own judgment of phrasing, figuration and giving the trio four movements he brought it into not endear him to the local authorities in introspection in this quintet and the movements ornamentation, the trademark components we the realm of the string quartet and symphony. Ludwigsburg, the home of a conservative do not shy away from long repetitions without recognize as typically classical. The Allegretto Over time, his trios became weightier and more German princeling, the duke of Württemberg. much alteration. Instead, what the work creates of the third movement is not a brittle scherzo, calibrated between the three instruments. The When the Duke sent mercenaries to George is an ongoing line of conversation between but a long and tender melodic line in the violin two trios op. 70 stem from the summer of 1808 III to help fight the American rebels, Schubart five soloists with plenty of harmonic surprises, yielding to the piano in the second stanza only in Heiligenstadt, by which stage he already had turned into a full blown satirist ridiculing the interesting chromaticism and Schubert’s to follow in canonic echo. If the strings seem to six symphonies, numerous string quartets and petty and narrow-minded Duke. It was not long characteristic traits of piano octaves in the lead in the first three movements, the full variety hefty piano sonatas under his belt. before he had to flee the duchy and take up the higher register counterbalancing the more filled- and grandeur of the piano permeates the finale. life of a publicist in two Imperial cities, Augsburg out lower regions in the strings. Both trios of op. 70 are substantial and highly Here Beethoven displays the full gamut of his and Ulm, outside the Duke’s jurisdiction. The contrasting. The first one probes the extremes developmental skills, delivering a triumphal As Alfred Einstein wrote: “The Schubert of this Duke however resolved to ensnare and silence of the trio spectrum, whereas the second one in finale that befits its key companions. quintet is not the great Schubert, but the one him. Like a trout in muddied waters, Schubart the key of E-flat works its way through from the whom we cannot help but love.” Roland Peelman was lured back for a visit under the pretense centre. It is relaxed in comparison, spacious and that all had been forgiven. He fell into the trap The year before the song Die Forelle, in March and ended up in the dungeon of Hohenasperg. 1816, Schubert composed three Sonatas entitled Midway through his imprisonment, around 1782, ‘Sonatas for piano, with violin accompaniment’ Schubart composed the poem “The Trout”, a in true 18th century fashion. The pieces were barely concealed metaphor for what happened not published till eight years after Schubert’s to him, coated in an air of childish naivety. death. The publisher Diabelli advertised them as ‘Sonatinas’, probably in order the Franz Schubert took Schubart’s “Trout” and lure the amateur market. And indeed, this D made its simplicity immortal. A surviving letter major Sonata is diminutive and technically indicates how fully he appreciated Schubart’s undemanding. From the opening unison (no political subtext, calling it his little “tyrant” song. small hint to Mozart’s E minor Sonata K304) to Vienna post-1815 was ruled by the iron fist of the final dance-like Rondo, every musical idea Metternich and his reactionary cohorts. Young comes with disarming ease and gracefulness, as bohemians had to be equally vigilant about any if Mozart was suddenly resurrected in a Vienna revolutionary sympathies. Schubert also recalls of kindness and generosity. the circumstances of the composition, late in Beethoven's Broadwood Roland Peelman

74 75 SATURDAY 5 MAY

CONCERT 20 BEOWULF

Canberra’s preferred audiovisual partner

PHOTO: OLGA GEORGE

Fitters' Workshop Scenes from Beowulf 8.00pm | 100 mins

he Anglo-Saxon epic poem Beowulf survives in a single Benjamin Bagby Tmanuscript source dating from the early eleventh century voice and Anglo-Saxon harp (British Library, Cotton Vitellius A. XV). Although scholars do not agree on the dating of the poem -- theories range between the sixth century and the date of the manuscript -- it is clear that the story has its roots in the art of the scop (creator), the ‘singer of tales’ -- oral poet, singer, story-teller and reciter in one person -- at formal + Hire & Production and informal gatherings, whose services were essential to the fabric of tribal society in early medieval England. The scop would re-tell + Installation & Maintenance the story of Beowulf, in song and speech, perhaps accompanying + Equipment Sales himself on a six-stringed harp (this we know from contemporary accounts and surviving instruments). His pre-literate audience + Technical Direction was attuned to the finest details of sound and meaning, meter and rhyme, timing and mood. The performance - which, for the entire + Event Management epic, might last between four and six hours - would never be exactly + Event Styling the same twice, as the scop subtly varied the use of poetic formulæ to shape his unique version of the story. The central dilemma of any attempt to re-vocalise a medieval text as living art is based on the fact that a written source can only represent one version (and possibly not the best version) of a text 02 6260 2311 | eetechnology.com.au from an oral tradition in which musical notation was unknown. This concert is supported by SUSAN & DAVID CHESSELL

76 77 The impetus to make this attempt has come have shown an active interest in the problems Hrothgar names the hall ‘Heorot’ (Hart). The courtier sitting at Hrothgar's feet, who taunts from many directions: from the power of of turning written words back into an oral poetry drinking and laughter of the warriors, and the Beowulf for supposedly having been defeated those oral storytelling traditions, mostly non- meant to be absorbed through the ear/spirit, harping and songs of the scop provoke a savage in a legendary swimming contest with Breca. European, which still survive intact; from the rather than eye/brain. But the principal impetus monster named Grendel, a descendant of Cain, Beowulf sets the record straight by recounting work of instrument-makers who have made comes from the language of the poem itself, who lives in the marshes nearby and cannot the dangers – attacking sea-monsters, storms, careful reconstructions of seventh-century which has a chilling, direct and magical power bear this human gaiety in his loneliness. Only vast distances – and claiming that they had Germanic harps; and from those scholars who that modern translations can only approximate. gradually do we learn details of the creature: that merely dared each other to a boyish hunt for it takes four men to carry his head on a spear, sea-beasts. Separated by the winter storm, The Instrument and that his hand has sharp they swam, carrying swords The 6-string harp used in this performance was resulting series of tones serves as a musical claws like steel spikes. For and wearing chain-mail, two built by Rainer Thurau (Wiesbaden, Germany), matrix, upon which the singer can weave both weeks and months Grendel different paths: Breca to based on the remains of an instrument excavated his own rhetorical shapes and the sophisticated visits the hall nightly, Norway and Beowulf to the from a 7th century Alemannic nobleman's grave metrics of the text (in my reconstruction work, devouring sleeping warriors land of Finns. Beowulf ends in Oberflacht (near Stuttgart). The study of this I never made musical notations or consciously and carrying off others to his retort with a taunt that instrument also informed the reconstruction of created any 'melodies', preferring to work with the moor to feed on later. At Unferth has slain his own the Sutton Hoo instrument now on display at the simple modal gestures). The Anglo-Saxon ear last, only drunken, boasting brother, the ultimate crime, British Museum. The remarkably intact pieces was finely tuned to this web of sounds and fools will linger in the hall even though by accident. of oak clearly show a thin, hollow corpus with syllable lengths, which was always experienced after dark, until they too are With such ‘heroes’ as this, no soundholes. There are strong indications, as an aural event, inextricably bound up with the slaughtered. it's no wonder the Danes can't deal with Grendel supported by contemporary iconography, story being told. The harp is a relatively quiet Twelve years pass, and themselves! The queen, that such an instrument had six gut strings, instrument, but in the ear of the performer news of Hrothgar's assailant Wealhtheow, pours ritual a tailpiece and a free-standing bridge. This it rings with an endless variation of gestures, travels eventually to other mead for the feasting scop’s instrument serves as a key piece of melodic cells and repetitive figurations which lands. Beowulf, sister's warriors and Beowulf evidence in reconstructing the performance, give inspiration to the shape of the vocalisation: son to Higelac, King of the boasts to her that he will for it provides the ‘singer of tales’ with a series in the course of the story the vocalist may move Geats, hears of Hrothgar's of six tones. Although several possible tunings imperceptibly or radically between true speech, distress, and with consent defeat Grendel or die in the present themselves, the six tones used in this heightened speech, speech-like song, and true from his uncle, sails with attempt. performance were arrived upon through a song. The instrument acts as a constant point fifteen companions from At nightfall Hrothgar and careful study of early medieval modal theory, of reference, a friend and fellow-performer, a southwestern Sweden all the Danes depart from yielding a gapped octave which contains three symbol of the scop and his almost magical role on the east coast of the Heorot to sleep elsewhere, Beowulf Cotton MS Vitellius A XV f. 132r perfect fifths and two perfect fourths. The in the community of listeners. Oslofjörd. When the Danish leaving Beowulf and his coastal watchman learns Synopsis of the story men to occupy the hall that they have come to Hrothgar's aid, he shows benches. Beowulf removes his helmet, chain- Although this performance uses video supertitles, the following summary will give an overview of the story them the path to Heorot. The Geatish warriors mail and weapons and boasts again: that he will up to the point where the re‑telling of Beowulf will stop, encompassing roughly the first third of the entire epic march with their spears, swords, helmets, shields use no weapon in this fight, since Grendel uses (lines 1-1062): and chain-mail to the high-gabled hall. At Heorot none. As darkness descends Grendel comes ollowing the formal call of ‘Hwæt!’ (Listen!), Beow carries on the Scylding line as a good and Beowulf and his men enter with challenges and gliding up from the misty marshes, and pushes Fthe scop reminds the listeners of some able ruler and is succeeded by his son Halfdane. formal speeches, the strict codes of a warrior’s open the great door, his eyes gleaming with geneology: the legendary arrival of the great Halfdane in turn is a worthy king, and has three behavior in court. King Hrothgar had earlier given evil. Immediately he grabs and eats a sleeping leader Scyld, found in a boat along the Danish sons - Heregar, Hrothgar and Helga - and a protection to Beowulf's father, Ecgtheow, during warrior. Next, the monster reaches for Beowulf, coast, a solitary baby with no possessions. But daughter, Yrsa, who marries Onela of the royal a feud. Learning Beowulf's name, Hrothgar but the hero grasps his arm and rises to his feet. when he grows up he becomes a unifier, war- line of Sweden. Eventually, Hrothgar becomes recalls hearing of the extraordinary strength and Beowulf’s men cannot help him since Grendel leader and king of the Danes. On his death he king and rules long and well. reputation of the Geatish hero. has put a spell on all weapons so that none can is again set adrift, but now the boat is piled high With the kingdom stable, Hrothgar orders that The strangers are warmly received and Beowulf harm him. During the ferocious struggle that with treasure and the standard floats in the wind a great banquet hall be built. Workmen from far is seated on the bench with Hrothgar's young follows, the hero wrenches off Grendel's arm. on the mast above him. He leaves a son, Beow, and near are brought to build and decorate this sons. No Dane has confronted Grendel and The sounds of the combat terrify the Danes already famous as a king in South Sweden (the royal building. Its fine workmanship and gilded lived. But the enthusiastic welcome shown to outside: Grendel howling with pain, benches northern part of Denmark in the fifth century). gables are famous in Denmark and abroad. the Geats irritates the jealous Unferth, a drunken torn up and overturned, the hall shaken to its 78 79 foundations. Grendel, leaving a trail of blood, a speech in reply: he describes the combat SUNDAY 6 MAY escapes without his arm and limps back to the and regrets only that he cannot show Grendel’s fens where he dies. Beowulf fixes the arm high entire body. Everyone agrees, looking at ICON WATER presents above the hall as a symbol of victory. Heorot is Grendel’s claw, that no sword could have ever cleansed of the evil monster, and in the morning defeated the monster. Order is quickly made in CONCERT 21 people come from far and near to inspect the the half-wrecked hall, and a great celebratory sight, following Grendel's trail to a boiling pool of feast is prepared: mead is poured and Hrothgar PETER AND THE WOLF bloody dark water in the marshes. makes good on his promise: Beowulf is given a golden standard, a richly adorned helmet and Young and old race their horses jubilantly back chain mail, a priceless sword, and eight horses, from the water, praising Beowulf, while an old one with a royal saddle decorated with jewels. scop, keeper of many ancient stories, makes Beowulf’s men are also given gifts, and the up a new song about Beowulf’s deeds of the Geatish warrior killed by Grendel is atoned for previous hours. He also sings the well-known with gold. story about Sigmund and the dragon. As the morning fog clears and the Danes converge on Heorot, Hrothgar appears with his queen The storyteller ends the story by reminding us and her retinue of women. Seeing the wrecked that in those days God controlled all mankind, hall and Grendel’s arm, the king gives thanks, as He still does today. Still, human prudence in praising Beowulf, offering to take him as a son, all things is best. Anyone who lives for long in this and promising him rich rewards. Beowulf gives world will endure much: both good and evil.

Holly Harrison b. 1988: Fitters' Workshop The Mad Hatter’s Tea Party (WP) 11.00am | 60 mins

Luigi Boccherini 1743-1805: Festival Sinfonia Minuet from String Quintet in E major, op.11, no.5 (G 275) dir. Leonard Weiss

Sergei Prokofiev 1891-1953: Paul English narrator Peter and the Wolf, op.67

This concert is supported by MARJORIE LINDENMAYER WP – WORLD PREMIERE

80 81 A Mad Tea-Party SUNDAY 6 MAY Holly has been mad about Alice disappearing Miles the Dormouse. Paul will tell you all about it down the rabbit hole for a long time. She has because he likes tea. Oh, and I forgot Claire who In association with the NATIONAL GALLERY OF AUSTRALIA now written the music for a mad tea-party to likes to keep Time. be held in Canberra. She has brought all her CONCERT 22 Penny and Greg are also mad about Holly, so friends along: Ned on flute who is supposed to they made it all possible. sound a bit like Alice, Ollie on clarinet (he’s the THE ART OF SPEECH Mad Hatter himself), Anna the March Hare and BARBARA BLACKMAN'S FESTIVAL BLESSING

Sergei Prokofiev: Peter and the Wolf, ergei Prokofiev was born in a village in the after his return was to write Peter and the Wolf SUkraine. Even as a young child he was very for a children's theatre in Moscow. clever at music: he was composing piano pieces when he was five, and he wrote an opera at nine. Prokofiev made up the story and wrote the His first teacher was his mother, a talented narration himself, drawing on memories of his pianist. He studied music for ten years at St. own childhood. Petersburg Conservatory from 1904 to 1914, He decided to use the music to introduce the winning the prize for best student pianist when children to the orchestra, so each character he graduated. He travelled widely; he spent in the story is represented by a different many years in London and Paris, and toured the instrument or group of instruments: Peter by United States five times. the strings, the bird by the flute, the duck by the Erik Satie 1866-1925: Gnossiennes National Gallery of oboe, the cat by the clarinet, the wolf by the horn Troisième Gnossienne (ca. 1890) – Lent Australia But in 1936, Prokofiev returned to the Soviet section, and so on. Quatrième Gnossienne (1891) – Lent Fairfax Theatre Union to live, and one of the first things he did Cinquième Gnossienne (1889) – Modéré 2.00pm | 90 mins

Komitas Vardapet 1869-1935: Six Dances (1906) Kate Howden mezzo-soprano Yerangi Shushiki Unabi Het u Araj Keiko Shichijo piano Marali Shoror

Erik Satie: Socrate (Socrates) (1917/18) Portrait de Socrate (Portrait of Socrates) text from Plato's Symposium Les bords de l'Ilissus (The banks of the Ilissus) text from Plato's Phaedrus Mort de Socrate (Death of Socrates) text from Plato's Phaedo

A small Canberra Symposium Barbara Blackman in conversation with on Socrates, solitude and seeing into the future.

This concert is supported by ANONYMOUS

82 83 Barbara Blackman AO Satie in White The emergence of photography at the end of to write a setting of texts from Plato about By 1952 Barbara was married to aspiring artist the 19th century created a new visual medium Socrates.. The music for this work is arguably Charles Blackman, a marriage that produced dominated by black and white and multiple more extreme than anything else he wrote. No three children and lasted nearly thirty years. shades of grey. Suddenly the strange other- moody melodies, no circus razzmatazz , no sly The two lived a meagre but happy existence worldly visions of Blake or Milton or Dante references, no tongue-in-cheek twists and turns in Melbourne until 1960, when Charles was became a reality as the effects of lighting and of the pen, no obvious eye-catching contrasts, awarded the prestigious Helena Rubinstein pixilation became tangible. Erik Satie, a peculiar nothing to distract from the simple words as Travelling Scholarship, and the family moved man by any stretch of the imagination, had written by Plato, put in the mouth of Alcibiades, to London. In later life, Barbara married gained a reputation with pieces that alluded Phaedrus, Phaedo and Socrates himself, in the Frenchman Marcel Veldhoven. The pair spent to ancient Greek dances in temple rituals: old translation of Victor Cousin. The sound is uthor, music-lover, essayist, librettist, twelve years together before Veldhoven Gymnopédies and Gnossiennes. The root drifting, almost featureless, perhaps mystical, Aletter writer and patron of the arts, Barbara travelled to India to live and study Tibetan gnossi derives from the Greek verb ‘to know’ hinting at a deeper truth behind the reality was born in Brisbane in 1928. Her father died Buddhism. Though Barbara was raised in the referring to deep knowledge, wisdom. The surrounding us. when she was three years old, and mother and Christian tradition, she broke away from the word Gymnopédie is more ambiguous still, a In 1945, the aged Princess de Polignac wrote: daughter lived together in a series of homes and Church in her early twenties and today follows combination of ‘young boy’ in a gymnasium. The “I asked Jeanne Bathori to bring him to dinner boarding houses in Brisbane. At Brisbane State the teachings of Sufism. slow rhythmic ostinati of these pieces resemble one evening. He was then a man of about 52, High School, Barbara was introduced to the the poetic patterns of Greek poetry and the neither tall nor short, very thin, with a short music of Shostakovich by fellow students Donald In 2004, Barbara pledged $1 million to music in melodies often have a modal bend. They avoid beard. He invariably wore a pince-nez, through Munro, Roger Covell and Charles Osborne, and Australia, to Pro Musica and the ANU School of climax or development and finish as abruptly as which one saw his kindly but rather mischievous began a love affair with contemporary music Music among other groups. Her generosity to they start. that continues today. In 1950 she was diagnosed Pro Musica enabled the Canberra International pale blue eyes, always ready to twinkle as some with optic atrophy; her vision declined rapidly Music Festival to develop in directions that Socrate was instigated by the American Princess humourous thought crossed his mind. until she became completely blind. would not otherwise have been possible. Edmond de Polignac with the specification that At the time (…) I had been learning a little Greek only female voices should be used. Originally the (…) . He was equally enthusiastic and decided idea was for Satie to write incidental music to a to write music for the Death of Socrates (…) We performance where the Princess and/or some spent many evenings talking it over, but in the of her (female) friends would read aloud texts end Satie decided to have no scenery at all and of the ancient Greek philosophers. But Satie was he wrote an oratorio for a woman’s voice and not in favour of romantic melodrama (cf. Enoch a small orchestra. There is no doubt that this is Arden) and that idea was abandoned for a sung his masterpiece (…) When he had finished it he type of oratorio. The first private performances sent me the score which is now in Paris in my took place with the composer at the piano and collection. “ the vocal parts sung by the Princess’s friend Jane Bathori. Various public performances Reading Greek was an unusual occupation for took place subsequently with none less than a woman in this period. Given the Princess’s André Gide, James Joyce and Paul Valéry in the own sexuality (scandal was never far away) and audience. The piece soon gained notoriety as a the work’s deliberate choice to have women shining white example of ‘objectivity’ in music. singing men’s parts, many scholars have Satie’s sardonic, satiric and pared-down works identified Socrate as an act of sexual defiance: for piano had long paved the way for a music an opportunity for her to drama such as this, a drama without drama. express her sexuality within When the first performance of the orchestral the safe confines of her version took place in 1920, the public thought salon. It ought to be pointed it was hearing a new musical joke by Satie, and out though that both Satie laughed. Satie felt very misunderstood. and his commissioner took extreme care to eliminate Whilst working on Socrate, he reportedly ate any reference to sex from Satie by Cocteau (1916) Satie by Boldrini only white foods to get himself in the mood Plato’s text, particularly as 84 85 the Symposium is very sexually explicit. The to express overt emotion, and suppress our SUNDAY 6 MAY Princess was guarded and knew her survival in instinct for melodrama when it comes to death. Parisian society depended on restraint, whereas He probably thought of antiquity and death as a Satie always was a deeply private individual perfect state of whiteness. In other words: to eat living on the fringe of the establishment. The white. CONCERT 23 de-sexualisation of the characters in Socrate PS. Satie died of cirrhosis of the liver in 1925. The could easily be interpreted as a political act, FESTIVAL FINALE: SERENADE manuscript the Princess was referring to is now but Satie’s motives were probably aesthetic lost. and philosophical: to undercut any temptation Roland Peelman

Komitas Vardapet 1869-1935: Six Dances (1906) orn in Kütahya, Anatolia in the Ottoman Armenian music which he believed to predate BEmpire, and orphaned from young the Christian era. Upon his return to Armenia, he age, Soghomon Soghomonian was taken to became the driving force behind the Armenian Etchmiadzin by the age of 12 and enrolled in choir movement and continued collecting the Seminary because of his singing talent. songs and publishing them on a regular basis. In Here he learnt Armenian, the Armenian music order to give his work wider exposure he moved notation system (khaz) and commenced the to Constantinople, not only the capital of the systematic notation of the Armenian folk songs, Ottoman Empire but also the centre of a large which earned him the nick-name of “note-taking Armenian community. On 24 April 1914, the day Salvatore Sciarrino b. 1947: Fitters' Workshop of the Armenian genocide, Komitas was arrested Como vengono prodotti gli incantesimi? for bass flute (1985) and deported. This event seemed to have been 6.30pm | 90 mins the catalyst for total mental collapse. Although Mary Finsterer b. 1962: he was returned to Constantinople the following In Praise of Darkness (AP) year, he never recovered. Komitas Vardapet, Vicis I known as the ‘Saviour of Armenian music’, Stellae Ned McGowan flute spent the final years of his life in psychiatric Candeo Tim Fain violin solo institutions around Paris, where he died in 1935, Prism Alice Giles harp solo leaving behind a substantial body of songs, Vicis II Festival Sinfonia choral pieces and piano pieces. dir. Roland Peelman – INTERVAL – Komitas Vardapet The Six Dances were written in Paris in 1906. All six are based on original Armenian dance styles. priest”. In 1894 Soghomon was ordained monk ‘Yerangi’ refers to the elegance of a woman’s Claude Debussy 1867-1918: and given the name of Catholicos Komitas dance. In ‘Unabi’ he interlaces two melodic Danses sacrée et profane L 103 nos. 1 & 2 after a 7th century Armernian hymn writer. The fragments. In ‘Marali’ and ‘Shushiki’ we can year after he was ordained vardapet (celibate hear the sound of folk instruments: the dap, a Leonard Bernstein 1918-1990: priest) and became herewith known as Komitas type of tambourine and the tar, a pucked string Serenade (after Plato’s Symposium) (1954) Vardapet. After spending some time in Tiflis, instrument. ‘Het u Aray’ is men’s round dance Phaedrus: Pausanias (lento – allegro) Komitas had the opportunity to continue his imitating the sound of the shvi, a shepherd’s Aristophanes (allegretto) studies in Berlin, where he studied composition reed pipe and the ‘dhol’, a hand-held percussion and joined a number of leading specialists in folk Eryximachus, the doctor (presto) instrument. The suite finishes with a heroic music (‘ethnic music’) at the Friedrich Wilhelm Agathon (adagio) men’s dance called ‘Shoror’. University. Here he taught the fundamentals of Socrates: Alcibiades (molto tenuto – allegro molto vivace) Roland Peelman

This concert is supported by MICHAEL AND MARLENA JEFFERY AP - AUSTRALIAN PREMIERE

86 87 Magic spells on new instruments Leonard Bernstein: Serenade (after Plato’s Symposium) In 1897, the French instrument maker Pleyel (vertical pipe of wood) or as flute (horizontal The raw energy of New York in the 1950s still drives the allegretto allocated to the comedy patented the chromatic harp and commissioned pipe in wood, later metal), its magic power drips off those black and white images that have playwright Aristophanes. In the original Debussy to write a new piece for it. Rather than remains part of the instrument’s mythology, pervaded our history books and lounge rooms. symposium, Aristophanes’s speech is one of fall under the spell of its sudden chromatic prompting operas no less. In post-war modernist Manhattan: the home of baseball, as much as the most original achievements, particularly in possibilities (one string for each chromatic note, circles a new wave of flute pieces emerged, John Cage, Merce Cunningham or Andy Warhol; regard to the origins of the three sexes, male, a nice principle that soon proved to be utterly intricate and often exploring new registers skyscrapers rising and business booming by female and androgynous, once powerful and impractical), Debussy wrote a diatonic, modal both high and low. Sciarrino’s 1985 solo work day, the coolest jazz competing with a fair dose god-like but thwarted by the Gods out of sheer piece, not unlike the simple Satie pieces he was stands out not only because of its intriguing title: of lethal gang warfare by night. Young Leonard envy. Eryximachus, the doctor in the house, is fond of (Gymnopédies and Gnossiennes, some Come vengono prodotti gli incantesimi? How Bernstein was virtually unstoppable in pursuit given a mere 90 seconds of whirlwind scherzo of which he had orchestrated). Rather than a are spells produced? Where does the magic of both the loftiest goals and seediest habits. writing featuring the percussion. Agathon, showcase for Pleyel’s new chromatic harp, the come from? By asking the question, it challenges Before immortalising his street cred in West Side the symposium’s host, is next with a heartfelt Danse sacrée et danse profane reflect the the very notion of ‘spell’ and prods at the deeper Story, he conceived a violin concerto in the form adagio, a romantic reflection on the idea that harp’s roots in ancient Greco-Roman culture, subconscious layers of mystery. Played tonight of a five movementSerenade around a subject the object of love is beauty itself and that an imaginary temple dance, both spiritual and on the flute’s deepest cousin, the contrabass that couldn’t be further removed from Brooklyn, beauty finds its embodiment in youth. For the seductive, the double face of rite and ritual. flute, the work pushes the tonguing physicality to wit: Plato’s Symposium, written ca. 385/6 BC ancient Greeks, these aesthetic categories of the player to the edge, as if banging at the but recounting a historical gathering in Athens stood for virtue, courage, justice and wisdom. The satyr Marsyas would cast his spell by playing door of the ordinary and summoning the ancient from the year 416 BC. In Bernstein’s words, Bernstein always called Agathon’s oration “the the flute. Here is another instrument that harks oracles to releases their deadly potions. the Serenade “resulted most moving speech of the back to the beginnings of ceremonial worship from a re‑reading of Plato’s dialog.” and courting traditions. Whether as a recorder Roland Peelman charming dialogue. The The finale brings to the fore Mary Finsterer: In Praise of Darkness (AP) music, like the dialogue, is a Socrates the philosopher rgentinian writer Jorge Luis Borges, discusses how blindness has a way of channeling series of related statements and Alcibiades, the army Aoften hailed as the greatest 20th century the memory, and keeping the essence of that in praise of love .” Bernstein general and politician, who writer never to have won the Nobel Prize, was recurring thought intact. This made me reflect had married in 1951, and from all accounts, as usual arrives both late and drunk. Socrates’ completely blind by the age of 55. Never having and explore my own recollections of music I there was no absence of love in the marriage; definition of love, as explained by Diotima, is learnt Braille, he lost the ability to read which did heard at different times in my life and loved. but the reality remained that Leonard was “the perpetual possession of what is good”, not prevent him from becoming the Director The notion of memory in composing In Praise of gay and enjoyed liaisons with attractive young what we now understand as ‘platonic’ love. the National Public Library in Buenos Aires. Darkness is expressed not in the way of quoting men. The ambivalence of love and its artistic The much younger and by his own account In Praise of Darkness was inspired by Borges’ the work of other composers, but more from the expression found a beautifully disguised voice handsome Alcibiades describes his admiration eponymous book from 1969 and his response aspect of how I have chosen to experience and in the five movements of this work. Neither a and love for the older man in no uncertain terms, to his condition: 'No one should read self-pity or then remember that music in my mind's eye. work of philosophy nor an example of musical giving a tragic twist to the gathering. Socrates reproach into this statement of the majesty of The orchestra aims to evoke a transparency in portraiture, the work turns one of the pillars was eventually condemned to death on the God; who with such splendid irony granted me texture, giving way to the idea of memory as a of Western literary dialogue into a concerto, charge of polluting the minds of young people. books and blindness at one touch.’ fluid series of thoughts held together by slowly whilst saluting the romantic tradition of night- Alcibiades, one year later, was banished from unfolding melodies that collide. Particular roles time serenades, designed to woo, seduce and Athens and joined their arch-enemy Sparta. Borges chose to interpret his predicament as an are given to Celesta and Harp, whose continuous entertain a real or imagined lover. Where on the Bernstein’s music captures the tragedy and alternative journey, a different way of accessing presence echoes the idea of calling back surface the solo violin might appear to embody turmoil that underlies the two final characters his creative powers. In his essay Blindness, he fragments of life and time, creating a structural each of the seven characters, the unbridled of the Symposium, counterbalancing the first writes that the 'world of the blind is not the night reference for the work. lyricism of the musical protagonist rather movement with a very muscular block of music that people imagine. The blind live in a world that suggests Bernstein’s own choices and yearnings. that brings all the threads together. is inconvenient, an undefined world from which I dedicate this piece to the bravery of Borges certain colours emerge.' For Borges the colours and those who strive to find a way of overcoming Phaedrus’ opening ambit about Eros as the In this most unlikely violin concerto, Leonard yellow, blue, green and grey would still appear. adversity with dignity and creative spirit. oldest God, the God of Love, becomes a slow Bernstein gave us a rich and timely statement on Red, white and black had completely vanished. fugato leading to a classic sonata-allegro love, as well as a beautiful send-off into the night. The work won the Paul Lowin Orchestral Prize for Pausanias, who distinguishes between Thank you, Mr Bernstein, and congratulations on Borges' reference to single colours re-appearing in 2009 and was premiered earlier that year in base and noble forms of love (the latter turning 100! provided me with the initial idea for a piece Amsterdam by the Asko/Schönberg Ensemble. being homosexuality as a lifestyle honouring Roland Peelman characterised by recurring gestures. The writer Mary Finsterer intelligence and wisdom). Musical ambivalence 88 89 again, but this time for concert performance. She has piece for Stephanie McCallum and Erin Helyard as well as the FESTIVAL ARTISTS written works for Alice Giles, Halcyon, Synergy Percussion, choristers of St Andrew’s Cathedral. Artistic Director the Seven Harp Ensemble, Ole Bohn, Alison Mitchell and a Roland Peelman Ben Drury An acclaimed musician of great versatility, Roland Peelman for his creativity in commissioning new artistic projects Benjamin Drury is a Canberra based composer, improviser standard performance venues and site-specific installations was born in Flanders Belgium and has been active in Australia including Kalkadunga Yurdu with didgeridoo artist and and sound artist. He has had works played by Eighth including his pieces: For Car Tunnel and Hexagonal Vents, over 25 years as a conductor, pianist, artistic director, and composer William Barton. His overview and understanding Blackbird, Ensemble Offspring and Lisa Moore among other Modified Furniture and Lontananza. His debut album mentor to composers, singers and musicians alike. Peelman of the music canon is unique. With a repertoire that includes ensembles. He has presented works at the festivals: You Are Sentence Fragment: Consider Revising was released in has received numerous accolades for his commitment the major classical works from Bach to Gershwin as well as Here, Art Not Apart, SoundOut, Tilde~ and the Canberra February 2017. Benjamin would like to thank Arn Sprogis and to the creative arts in Australia and specifically for his 20- a vast oeuvre of early music from Lassus, Monteverdi and International Music festival. Through his compositions he Margot Woods for commissioning his work Stained Glass for year directorship of The Song Company during which the Schütz to Purcell Peelman is Australia’s most innovative explores acoustics, noise and time. He is interested in non- the 2018 Canberra International Music Festival. ensemble grew into one of Australia’s most outstanding and and versatile musical director. His passion for new music Brenda Gifford innovative ensembles. Peelman is widely recognised as one has been crucial to an ever-growing repertoire of concert Brenda Gifford is a Yuin woman, originally from Wreck the album sleeve notes for the reissued The Loner album of Australia’s finest musicians receiving the NSW Award for music as well as music theatre. Over the years Peelman has Bay, south coast NSW. She has twenty years' extensive by Uncle Vic Simms. One outcome from the program was “the most outstanding contribution to Australian Music by an directed numerous recordings and premiere seasons of experience as a musician and is a composer and classically Brenda was commissioned to write a composition called individual” and named “musician of the year” by the Sydney new operas such as Black River, Fahrenheit 451, The Burrow, trained saxophonist, pianist and teacher. Brenda has toured Gambambarawaraga, meaning 'seasons' in Dhurgha Morning Herald’s music critic in 2006. In 2009 Sydney The Sinking of the Rainbow Warrior and Gauguin to name extensively around Australia and Internationally to Native language, for the Canberra International music Festival. She Morning Herald reviewer Peter McCallum named Peelman just a few. He has worked with most orchestras in Australia American communities and the Pacific Islands. She worked has given over one hundred interviews and oral histories “The Innovator” praising him as the mastermind behind and continues to develop new projects that aim to change with Kev Carmody, on his album Eulogy (For a Black Person) with Aboriginal musicians and has curated notes and blogs. two of Sydney’s “best moments” in music referring to the and re-invigorate the nature of concerts both in form playing saxophone on the track 'Blood Red Rose'. She wrote Brenda is currently studying composition at ANU. Tenebrae III dance collaboration to music by Gesualdo and and content. In 2015 Roland was appointed to succeed the Festival Licht featuring music by the composer Karlheinz Christopher Latham as Artistic Director of the Canberra Holly Harrison Stockhausen. Peelman has also been widely recognised International Music Festival. Holly Harrison is a young Australian composer from Western (UK) 2014 Call for Scores. She has recently completed a Sydney. Holly’s music is driven by the nonsense literature piece for shakuhachi legend Riley Lee and Enigma Quartet, Composers of Lewis Carroll, embracing stylistic juxtapositions, the as part of their Five Elements Project. Her works have been visceral energy of rock, and whimsical humour. Holly was performed at festivals including Gaudeamus Muziekweek Mary Finsterer – Composer in residence the inaugural winner of the 2017 Sue W Chamber Music 2014/2016 (NL), November Music (NL), Cabrillo Festival Mary Finsterer is recognised as one of Australia’s finest double–disc compilation entitled Catch, on the ABC Composition Prize, awarded to an Australian female of Contemporary Music (USA), Perth International Arts composers. Recognised internationally for her music in Classics|Universal label. Also composing music for feature composer, for her work Lobster Tales and Turtle Soup, which Festival, Adelaide Festival, Australian Music Day, Limelight Europe, Britain, USA and Canada, she has also represented film, in 2011 Mary’s score for Shirley Barrett’s featureSouth featured on Eighth Blackbird’s (USA) Australian tour as part Australian Composition Seminar, Creativity Unlimited, Australia in five International Society for Contemporary Solitary was a finalist in the Film Critics Circle Awards and of Musica Viva’s 2017 International Concert Season.. She was Asian Composers’ League Festival (TWN), and Now Hear Music Festivals. Mary has been the recipient of many has been released on ABC Classics|Universal. Mary's most awarded first place at the 2014 Young Composers Meeting in This Festival (CAN). Holly’s music has been performed in prestigious awards including the Churchill Fellowship, recent work, her new opera Biographica, was premiered Apeldoorn, The Netherlands, for Cabbages and Kings, and Australia, Asia, Europe, and the USA by ensembles and Australia Council Composer Fellowship, Royal Netherlands by Sydney Chamber Opera and Ensemble Offspring at the in 2013 was the winner of the inaugural Pyeongchon Arts Hall artists including Orkest de Ereprijs, Alarm Will Sound, Government Award, Sydney Symphony Orchestra Sydney Festival in January 2017 with exceptional success. International Chamber Music Composition Competition Ensemble Offspring, Sydney Symphony Fellows, Michael composer-in-residence, Paul Lowin Orchestral Prize and Having enjoyed a sold-out season, it was enthusiastically (South Korea) with Red Queen, White Queen, Alice and Kieran Harvey and Timothy Phillips, Caroline Cartens, numerous APRA Amcos ART Music Awards throughout received by critics and audiences alike and described as 'an All. Holly was a resident composer at the 2014 Mizzou Sydney Youth Orchestras, The Riot Ensemble, and the her career. She has been the featured composer in the outstanding new opera that deserves a permanent place in International Composers Festival (USA) with Alarm Will Melbourne Symphony Orchestra. ABC Classic FM Pedestal Programme and the Sydney the repertory’. Mary is currently the Chair of Composition at Sound, and was one of two winners of The Riot Ensemble's Opera House. The first collection of her award–winning the Sir Zelman Cowen School of Music, . work spanning more than 10 years can be heard on the Larry Sitsky Sharon Calcraft Larry Sitsky is possibly the most commissioned Australian repertoire and has deliberately concentrated on performing composer, and has consciously tried to work in as many Australian music. His books have become standard texts Sharon Calcraft was born in Jamaica in 1955 and moved to Swanton, Elizabeth Campbell, James Morrison, Nigel genres as possible, including opera, theatre, orchestral in areas such as Ferruccio Busoni, Anton Rubinstein, Alkan, Australia with her family at age fourteen.In the late 1970’s Westlake, Stephanie McCallum and Michael Askill. The music, chamber music, solo music, vocal music, Classical Reproducing Piano Rolls, music of the twentieth she began writing music for film which continued unabated birth of her twin sons in 1993 effected a natural hiatus in transcriptions. He has been the recipient of many honours century avant-garde, music of the repressed Russian until 1990 when her eldest child was born. During this period compositional activity, although there was a period of time including Order of Australia, Centenary Medal, Advance avant-garde, 20th-century Australian piano music. Sitsky she was fortunate enough to work more or less continuously in which she was a guest lecturer on the Classic Hollywood Australia award, and cultural ambassadorships to China, has worked with every orchestra in Australia and lectured at with exceptional musicians such as Chris Abrahams, Lloyd film Score at the AFTRS. In 2002 she began to compose Russia, USA. As a pianist he has constantly explored the every tertiary institution. With an extensive list of CDs to his 90 91 name, his areas of speciality include Roy Agnew, Rosemary member of the School of Music, ANU since 1966. original tablatures into regular multi-part scores. In some founded and hand-picked by Simone Vallerotonda, aims Brown, mysticism, mythology. He has been a Foundation instances they wrote directly for a consort of lutes, or for lute at rediscovering and offering the audience that repertoire and sundry instruments. Guitarists were typically expected to in chamber format. Their debut album Alfabeto falso was Roger Smalley (1943-2015) be accompanied by theorboes, colasciones, lutes – and vice nominated in the ICMA 2018 (International Classical Music Born near Manchester in 1943, Roger Smalley is part of a of Music, Smalley re-discovered the 19th century which versa. Relying on written testimonies as well as on musical Award) among the best baroque instrumental records. remarkable group of British late 20th century composers prompted a series of tautly constructed and vividly imagined and iconographic sources, the ensemble "I Bassifondi", who had their feet firmly planted in European structuralism concert works. His work as a composer won multiple awards and developed a soundworld reflecting the terse anti- and received critical appraisal before becoming the subject Dapper's Delight romantic agenda of serialism. Many gave way eventually of various books. His presence at the University in Perh over Dapper’s Delight was founded as an informal duo in Music Hall. The duo has found friends and admirers from to mellower harmonic idioms that allowed a new level of several decades is fondly remembered. Smalley would have 2009, primarily to play music on the streets. Following both the folk and early-music worlds. Dapper’s Delight has freedom. After settling in Western Australia as Professor turned 75 this year. highly positive reactions from listeners, they expanded performed in the UK, The Netherlands, Belgium, Germany, Martin Wesley-Smith this concept into a programme for the concert hall. Their Austria, Portugal and Canada, and has recorded three CDs. Martin Wesley-Smith is an eclectic composer at home in a Royal National Park. In 1986 Boojum! was produced at the repertoire focuses on the rich repertoire of 17th and 18th The name “Dapper’s Delight” is a reference to the Dutch diverse range of resources and idioms. Two main themes Adelaide Festival of Arts before the Queen of England! century English tune books and broadside ballads, which humanist and armchair explorer Olfert Dapper (ca. 1635 – dominate his music: the life, work and ideas of Lewis Later that year he established, at the Central Conservatory form a bridge between ‘art’ and ‘folk’ music – music that 1689) who despite never having travelled outside Holland Carroll and the plight of the people of East Timor. One of of Music in Beijing, China's first computer music studio. In could have been performed in domestic settings, on the published several geographical tomes, amongst which his pieces - For Marimba & Tape - is the most-performed 1988 he was the Rayson Huang Fellow at the University of street, in the tavern, carnivals and pantomime etc. and that Description of Africa (1668) is still a key text for Africanists. A piece of Australian so-called "serious art-music". He Hong Kong where he subsequently lectured. In 1997 he was appears in both high and low cultural sources. Recently, they famous Amsterdam street market is named after him and it was born in Adelaide and studied at the Universities of awarded the Paul Lowin Song Cycle Composition Award for have widened their focus to include the logical descendants was here that the duo first performed in 2009. Adelaide and York (England) before taking up a position Quito, which has been performed widely internationally. Tall of the broadside tradition, namely songs from the British lecturing in composition and electronic music at the Sydney Poppies Records won the Best Recording of an Australian Susanna Borsch recorders, English concertina and voice Conservatorium of Music. In 1988 he was the Australia Composition award in the 1997 ABC-FM Recording of Susanna is one of the few instrumentalists able to interpret the band Hexnut; ELECTRA (all-female modern music Council's Don Banks Fellow; in 1997 and 1998 he held an the Year Awards and nominated for a Prix Italia and a both contemporary and early music with complete ease. ensemble); BRISK Recorder Quartet. Dapper’s Delight Australia Council Fellowship. In the late 70s and early 80s Grawemeyer Award. In 1998 it earnt Wesley-Smith a Special She studied at the Amsterdam Conservatorium with Walter provides Susanna with the space to explore improvisation, he was Musical Director for a now-legendary series of multi- Award for Music in the 1998 Michele Turner Writing Awards. van Hauwe. Her solo CDs “off-limits” (2006) and “Susie, tell and a freer approach to performing, in a repertoire full of media events produced at Wattamolla Beach in Sydney's me a Story!” (2014) feature many new works for recorder beautiful melodies and invigorating dances. Since April 2014 and live-electronics written especially for her. Her other she has been teaching at the Trossingen University of Music Ensembles ensembles include Mezzaluna (Renaissance polyphony); in Germany. Adrian Brown anglo concertinas and voice Bach Akademie Australia A musical instrument maker by calling, Adrian Brown has his teenage years and teaches the instrument both privately Bach Akademie Australia is Australia's newest dedicated direct access to the world's leading Bach exponents, Bach conducted extensive research into the history of the and at the annual German Concertina Meeting. He has Bach ensemble. It is the brainchild of world renowned Bach Akademie Australia aims to give Australian audiences the recorder, measuring many original instruments and making developed a very personal style on the instrument and his expert Madeleine Easton. Bach Akademie Australia’s raison very best experience of J'S Bach's music and put Australia reconstructions, and has written several organological playing has been widely admired both for its originality and d’etre is to create a natural extension of her work over the last on the map as a place of international repute in the studies. In parallel, he has played the anglo concertina since technical competence. 17 years in Europe. It will combine cutting edge scholarship, performance of J.S Bach. Canberra Wind Symphony imaginative musicianship and playing of dazzling virtuosity. Bach Akademie Australia launched in April 2017 with a sold Geoff Grey CSM artistic director and chief conductor The ensemble's focus on mastery of performance, out performance in Sydney at the historic Garrison Church, The formation of the Canberra Wind Symphony in 2015 is the ensemble players to bring the best 20th and 21st Century authenticity and originality of interpretation is bringing the followed by two sold out performances for the Canberra most significant impact on the large ensemble landscape Australian and international wind literature to the stage. music of J.S Bach to life for Australian audiences. International Music Festival to rave reviews in Limelight in this region since Ernest Llewellyn took over the reins of With a level of clarity and musicianship that is rare, the Bach Akademie is forming close links with academic Magazine and Canberra City News, and another sold out the CSO 50 years ago. This wind orchestra, the freshest Canberra Wind Symphony delights in presenting concerts institutions around Australia to establish an atmosphere performance at Christ Church St Laurence, Sydney to mark contributor to the international wind music conversation, of contemporary wind ensemble works from fascinating of learning and education around the ensemble. With the 500th anniversary of the Reformation. brings together up to 40 of the Capital Region’s finest wind composers with intriguing rhythms, textures and colours.

I Bassifondi Coro Canberra Simone Vallerotonda direzione, Gabriele Miracle percussioni, Federico Toffano colascione & chitarra battente Coro is a semi-professional Canberra-based not-for- and performance. The group is committed to presenting Most 17th-18th-century music for lute, guitar, theorbo and Kapsberger, Corbetta, Piccinini, de Visée, Granata, Weiss profit chamber music ensemble founded by conductor interesting and diverse performances around Canberra, archlute was devised and written down to be played in and others either composed their solo pieces with an added and composer David Mackay and singer Paul Eldon which accessible to all ages, backgrounds and incomes. Coro is a consort with different instruments. Such composers as continuo accompaniment or arranged them from the follows the European festival chorus tradition of rehearsals platform for collaboration with other musicians whether as 92 93 soloists, conductors or part of the broader ensemble. Since singer and conductor Peter Tregear; Joseph Nolan, Organist Seven Harp Ensemble their first sold-out concert in March 2012 at the Wesley and Master of the Choristers at St George's Cathedral, Perth; SHE was founded by Artistic Director Alice Giles, world- highly prestigious Spring Festival Global Gala, one of the Music Centre, notable collaborations include countertenor and Beijing-based British conductor Nicholas Smith OBE. renowned performer, teacher and advocate for the harp. most viewed television events in China. SHE performances Tobias Cole; composer and keyboardist Calvin Bowman; The other members of SHE comprise some of the best include: the Canberra International Music Festival (2009); Kompactus Youth Choir young talent from around Australia, with several members ABC Classic FM Sunday Live; ANU School of Music; Wesley currently studying and working internationally. Having Music Centre; Canberra Museum for the Multicultural Kompactus is a youth chamber choir, aimed at developing from many time periods and styles stretching as far back as previously represented Australia at the American Harp Festival and National Galley of Australia). SHE has recorded the skills of talented singers between the ages of eighteen the late medieval through to modern contemporary music. Society’s annual conference in 2006, SHE was honoured to a CD of their Australian commissions for the Tall Poppies and thirty. Their diverse and versatile repertoire is drawn be invited to tour to China in January this year, performing label, titled ‘Bolmimerie’. Included on the album are works Luminescence Chamber Singers at the National Centre for Performing Arts in Beijing. The by Ross Edwards, Martin Wesley-Smith, Andrew Schultz and Luminescence Chamber Singers is a virtuosic chamber Wales with acclaimed guest conductor and composer group was also the guest of Beijing Television as part of its Sharon Calcraft. music ensemble comprised of eight young vocalists. Since Gordon Hamilton, performed with sopranos Louise Page Alice Giles director the ensemble’s earliest iteration in 2013, Luminescence and Louise Keast, and worked extensively with Swedish Alice Giles is celebrated as one of the world’s leading harpists. Arts Fellowship she performed at Mawson Station in 2011 has quickly gained a reputation for presenting exciting and musicologist and conductor Bengt-Olov Palmqvist. In First Prize winner of the Eighth Israel International Harp to commemorate the Centenary of the First Australasian excellent singing. The ensemble is under the collaborative addition to their own concert seasons, Luminescence Contest, she has performed extensively as soloist word- Antarctic Expedition. Alice is Director of the Seven Harp artistic direction of its singers and performs a wide range performs regularly in local concert series in venues such as wide. Regarded by Luciano Berio as the foremost interpreter Ensemble, was Chair and Artistic Director of the World Harp of repertoire from the Renaissance to the 21st century. In the High Court, Parliament House and Wesley Music Centre, of his , recital highlights include London’s Congress, Sydney July 2014, and is founding and Artistic 2014, Luminescence recorded a number of tracks for Sally and delivers a variety of workshops to school and community Sequenza II Wigmore Hall, New York’s 92nd Street 'Y' and Merkin Hall and Director of the non-profit company Harp Centre Australia. Greenaway’s album Aubade & Nocturne, and in 2015 they choirs and is frequently engaged for collaborative projects Frankfurt Alte Oper. As recipient of an Australian Antarctic She now teaches at the . performed with ARIA Award-Winning pianist and composer and recordings. Sally Whitwell. In 2016, Luminescence toured New South Turner Trebles Orava Quartet The Turner Trebles is an unauditioned choir of boys and highlights include Carols in the Members Hall of Parliament girls from Turner Public School directed by Tobias Cole, House, The Chocolate Factory (Canberra International Daniel Kowalik violin, David Dalseno violin, Thomas Chawner viola, Karol Kowalik cello which provides the opportunity for children to explore their Music Festival), Double Trouble with The Song Company and Founded in 2007, the Orava Quartet has been invited to they are Quartet-in-Residence, the Quartet has performed full vocal capacity, in particular, their high voices, and aims Canberra Choral Society at The Street Theatre and Carmina perform in Canada, the United States, United Arab Emirates, at major festivals including the Australian Festival of Chamber to instill a passion for choral singing. Recent performance Burana in Llewellyn Hall with National Capital Orchestra. China, Hong Kong, Singapore and Philippines, as well as for Music and Huntington Estate Music Festival; the BBC Proms Queen Sofia of Spain and Pope Benedict XVI. As graduate Melbourne; Queensland Music Festival, Melbourne Festival , Vocal Fry Quartet-in-Residence at the University of Colorado (USA), the Musica Viva Festival, and Brisbane Baroque. Orava Vocal Fry is a fun and energised group of Canberra high 2013 to over thirty singers. Recent performance highlights they had the privilege of working closely with the world- Quartet is grateful for the support of private sponsors and school students who love quality ensemble singing and include The Chocolate Factory in the Fitters Workshop renowned Takács Quartet from 2012-2014. During this time the University of Colorado, the Australia Council for the Arts, are keen to develop their musical and performance (CIMF), Transcendence in the High Court (ANU Open School the Quartet were selected to be part of the Juilliard String Australian Music Foundation, Musica Viva, Ian Potter Cultural skills. Created by Tobias Cole as part of the ANU Music of Music), and excerpts from Pergolesi's Stabat Mater in the Quartet Seminar in New York City. At the 2013 Asia Pacific Trust, Dame Joan Sutherland Fund, PPCA Performers’ Development Program, it has grown from five singers in Hungarian Embassy (Friends of the ANU School of Music). Chamber Music Competition in Melbourne the Quartet Trust Foundation, Ernest Llewellyn Scholarship and Ars won the Musica Viva Australia Tony Berg Award for Most Musica. Daniel, David and Thomas play on instruments by Singers Outstanding Australian Ensemble. Alongside performances contemporary American luthiers David Gusset and Ryan

th for Camerata – Queensland's Chamber Orchestra, where Soltis, and Karol on a French 19 century cello. Richard Butler tenor A 2013 Gramophone award-winning artist as principal soloist Bach's St Matthew Passion at Elder Hall, Adelaide. Last year Pietra Quartet for the Gabrieli Consort ( A New Venetian Coronation, 1595), Richard sang Messiah for Trinity College, Melbourne at MRC, Anna Da Silva Chen violin, Benjamin Tjoa violin, Justin Julian viola, Miles Mullin-Chivers cello English tenor Richard Butler now lives in Sydney. Richard Handel's Judas Maccabaeus at St George's Cathedral, Perth, The Pietra Quartet was formed in mid-2016 by four Sydney Quartet has also appeared in masterclasses for Edward made his debut with WASO, MSO and ASO in 2014 singing St John Passion arias for WASO, and St Matthew Passion for Conservatorium students. The quartet has worked under Dusinberre, Sebastian Casleanu and Janis Laurs. In 2017, Handel's Messiah. Richard was also soloist for the ABO's 25th TSO, Hobart (Evangelist and arias). Recent projects have the tutelage of Associate Professor Alice Waten and the they won first prize in the inaugural Sydney Conservatorium anniversary series, performed in the Canberra International included further performances of Bach St John Passion, Goldner Quartet’s Julian Smiles while studying at the Association Chamber Music Competition. The quartet is Festival singing Bach cantatas and was evangelist and aria Bach cantatas with the newly launched Bach Akademie Conservatorium and performing frequently. In 2017, also the grateful recipient of the 2017 Westheimer String soloist in Bach's St John Passion at St James', Sydney with Australia and a concert series with the Song Company. Most the group participated in the annual Estivo Summer Quartet Fellowship and a 2018 Ernest V. Llewellyn Memorial the Australian Haydn Ensemble. At UWA, Richard was the recently, Richard sang the title role in Britten St Nicolas for Chamber Music Festival, where they received tuition and Fund scholarship. tenor soloist in Britten's War Requiem. He also sang the role Sydney Chamber Choir and Brett Weymark. Richard is also masterclasses from Eberhard Feltz, Johannes Meissl, Niklas of Pilate in Pärt's Passio for the Adelaide Chamber Singers principal lay-clerk at St Mary's Cathedral, Sydney. Schmidt and Goetz Richter in Verona, Italy. The Pietra as well as for Song Company in Sydney and was evangelist in

94 95 Tobias Cole countertenor Schools Company, she joined The Song Company in 2011. 2017, she premiered Andrew Howes’ one-woman opera The Tobias Cole is an award winning singer, choral conductor October presented The Vow, an adaptation by Tobias of Since winning second prize in the 2010 National Aria Award, Mermaid in the Utzon Room at the Sydney Opera House with and artistic director who is driven by a passion to create Handel’s Jephtha at the Canberra Playhouse. In 2017 Tobias’ Susannah has performed regularly in Canberra, both in The the Kasba Trio and in 2018 performed in Brett Dean’s highly engaging experiences for performers and audiences. In engagements included Alana Valentine’s Cold Light with The Song Company’s Subscription Series and for CIMF. She was acclaimed opera Hamlet at the Adelaide Festival. For the 2016, with support from ArtsACT, the Australia Council Street Theatre Company, a return to the Song Company and the soprano soloist in the CCS and NCO's 2016 Carmina Bach Akademie, she has recorded and performed a number and Creative Partnerships Australia, he established his the Canberra International Music Festival, and a production Burana and is a 2018 recitalist with Art Song Canberra. In of cantatas in their concert series and fundraisers. own opera company, Handel In The Theatre, which in of Handel's Esther for Handel In The Theatre. Andrew O'Connor bass oam bass Andrew Fysh Andrew O’Connor was born in Perth, and graduated from Australian vocal work by Alice Chance, and Handel's Ode Originally from Hobart, where he began his singing career concert hall received Soundscapes magazine’s Editor's the University of Western Australia (BMus). He relocated for Queen Anne at the Canberra International Music Festival. over forty years ago as a treble at St David’s Cathedral, Choice award. Solo engagements have included Bach St to Sydney in 2015 to join The Song Company, Australia's Other recent highlights include world premieres of two Andrew Fysh has considerable experience as both chorister John Passion (St Mary’s Cathedral and St James’ Church, leading vocal ensemble. Andrew also appears regularly with Australian song cycles at the Sydney Opera House with and soloist throughout Australia. His particular interest Sydney), Mozart Requiem (Festival of Voices, Hobart, and Sydney’s leading early and contemporary music ensembles Hourglass Ensemble, and Monteverdi L'Orfeo for ANU. lies in early music, nurtured through fourteen years as a St James’ Church, Sydney), Berlioz L’enfance du Christ including Opera Australia, Pinchgut Opera, Bach Akademie He is a passionate advocate for contemporary Australian permanent member of Melbourne’s acclaimed Ensemble (Llewellyn Choir, Canberra) and Canberra Choral Society's Australia, Cantillation, St Mary’s Cathedral Choir, Choir of music and music education. In his current role with Song Gombert under John O’Donnell. He has joined the Ensemble performances of Messiah in 2015 and Bach St Matthew St James, Sydney Antiphony, and Hourglass Ensemble. In Company and tours with The Australian Voices Six he has for its four overseas concert tours, most recently to Europe Passion in 2018. Andrew was bass soloist for the Canberra 2017 his solo engagements included Fauré Requiem with premiered over fifty new works around the globe. Andrew is in 2015. Andrew has appeared as a guest artist with the The Bach Ensemble’s cantata concert series in 2016–17, the Queensland Symphony Orchestra, Arvo Pärt Passio with highly involved in music education via the Song Company’s Song Company on multiple occasions in both concert and culminating in two performances of the solo cantata Ich The Song Company, Monteverdi 1610 Vespers with The education program, the Moorambilla Voices program, and recording. The 1996 world- premiere recording of Schütz habe genug (Cantata No.82). Song Company and Orchestra of the Antipodes, Bach John the Perth Choral Institute. Der Schwanengesang recorded in the Sydney Opera House Passion in City Recital Hall with Choir of St James, a new

Kate Howden mezzo-soprano Dan Walker tenor Kate Howden studied at Trinity Laban Conservatoire, Royal Hänsel Hänsel und Gretel, Opera Holloway; Isolier Le Comte Composer, conductor and performer Dan Walker is one of performer with The Song Company and was a founding Academy of Music, and National Opera Studio, London Ory and Dorothée Cendrillon, Blackheath Halls Opera; Australia’s most in-demand choral specialists. He has had member of early music ensemble ‘The Parsons Affayre’. He and now studies with Susan Roberts. She has won many Cherubino Le nozze di Figaro, Harrow Opera; and Annio La works commissioned by the Sydney Symphony, Australian is a keenly sought-after conductor, appearing as chorus- singing awards, including the Jean Meikle Prize for a Duo with clemenza di Tito, Hampstead Garden Opera. Her concert Chamber Orchestra, Gondwana Choirs and Halcyon. As master for the Sydney and Melbourne Symphony Choruses, pianist Sachika Taniyama at the 2015 Wigmore Hall / Kohn repertoire includes Haydn Nelson Mass, Mozart Requiem and a performer, Dan is a member of the professional vocal and is Artistic Director of Choristry and Habeas Chorus, the Foundation International Song Competition; the art song C Minor Mass; Berlioz Les Nuits d’Eté and DurufléRequiem . ensemble ‘The Consort of Melbourne’, Sydney-based choir for the Melbourne legal community. prize at the 2015 Mozart Singing Competition, the Isabel Jay Recent engagements include Il Ritorno with Australian Cantillation, and Pinchgut Opera. He has been a guest Prize (RAM) and the Roy Pleasance Singing Award (TCM). contemporary circus group Circa; Mort de Socrate (Satie), Kate’s opera engagements include Cendrillon (Massenet), King's Place; and Solomon, Musique Cordiale Festival/ nstrumentalists Bianca The Rape of Lucretia, La Ciesca Gianni Schicchi and Graham Ross. I La Suora zelatrice Suor Angelica, Royal Academy Opera; Stephanie Arnold cello Wynton Johnstone treble The work of Melbourne based cellist Stephanie Arnold based asylum seekers. Her current project These Tender 12-year-old Wynton Johnstone is a member of the Jane Gilby and is preparing for his grade 6 AMEB violin exam. combines music performance with oral histories and Threads is Stephanie’s re-working of Christina Vantzou's Luminescence Children’s Choir and the Ainslie All Saints In his spare time Wynton enjoys reading, cooking, playing storytelling. Since completing a Master of Music from ambient improvisatory tracks, combined with family oral Choristers, and has participated twice in Gondwana mandolin, piano and video games. He is thrilled to be singing Musikhochschule Lübeck Germany in 2014, Stephanie has histories exploring the subject of remembering and forgetting. Summer Choral School. Wynton studies violin with Barbara the role of ‘Amore’ in Il ritorno d'Ulisse in patria. spent the last few years developing works using her edited Performances of these projects include Oral History Victoria’s interview material in live musical performance. Her work 2016 inaugural showcase, History Council of Victoria’s Chloe Lankshear soprano Across the Water, a collaboration with composer Robert ‘Making Public Histories’ seminar series, the Australian Oral Chloe Lankshear is a vocal student of Sydney months, she has performed with The Song Company Davidson, was awarded the Oral History Victoria 2017 History Conference and Melbourne Recital Centre's ‘A Conservatorium of Music under the direction of in various projects, sung with St James’ Church choir, innovation award. The work for cello and digital track Thousand Sounds series’. Rowena Cowley. She has been a member of Luminescence and participated in 2017’s Yvonne Kenny Masterclass in was made using oral history interviews with Melbourne Chamber Singers since 2013 and directed various choirs Canberra. Chloe is currently completing her Bachelor of and music workshops around Canberra. In the past twelve Performance specialising in Early and Baroque music. Veronica Bailey percussion

Susannah Lawergren soprano Veronica has a Bachelor of Music from the Australian National she studied at the Jacobs School of Music, Indiana University Susannah holds an Adv.Dip.Opera from the Sydney Relations) with Distinction from UNSW. After starting her University, which she completed in 2007 and a Masters degree where her teachers were John Tafoya (former timpanist with Conservatorium and a BA (Politics and International professional career with a season at Opera Australia’s NSW focusing on Percussion Pedagogy completed in 2013. In 2007 the National Symphony) and Kevin Bobo. While there she was

96 97 awarded the place of timpanist in the school's Symphony Percussion to play at the Seoul Drum Festival in 2011. In April highlights have included Peter performing chamber music Orchestra. For the last three years, Peter has created and Orchestra and was invited to play with the Columbus, Indiana of 2014, Veronica performed Ewazen Marimba concerto at Denmark’s Thy International Chamber Music Festival developed a widely acclaimed interdisciplinary concert Philharmonic. Veronica regularly performs as Principal and with the National Capital Orchestra. Veronica has been the with Máté Szűcs, principal violist of the Berlin Philharmonic. experience entitled ‘Local Heroes’, with the Australian Tutti percussionist with the Canberra Symphony Orchestra. classical percussion teacher for the ANU Open School of 2016 brought him to Ireland where he was principal second Chamber Orchestra. Together with violinist Pekka Kuusisto, Performance highlights include being Principal Timpanist Music since 2010. violin of the RTÉ Symphony Orchestra, Dublin. During 2017, Peter has delivered ‘Local Heroes’ to thousands of young with AYO in 2011 and travelling to South Korea with Synergy he was in residence at Lincoln Center, New York. In 2018, people all across Australia. Peter appeared as concertmaster of the Darwin Symphony William Barton didgeridoo William Barton has been playing didgeridoo for over 20 internationally since the age of 15. He has been involved with Nigel Crocker trombone years. He first started to learn the instrument in Mount Isa, community engagement with audiences from an early age. The early part of Nigel’s career was spent knocking around Canberra Symphony Orchestra. Nigel has a keen interest in far north western Queensland. Working with traditional William is a 2012 ARIA award winner for best classical album in rock and funk bands in his home town of Perth. In ’81 he the sackbut and often works with Australian Brandenburg dance groups and fusion/rock jazz bands, orchestras, string Kalkadungu. moved to Melbourne where he played with iconic rock Orchestra, Pinchgut Opera, Australian Baroque Brass, and quartets and mixed ensembles, William has been touring band Hunters and Collectors before joining the Channel 9 Australian Romantic and Classical Orchestra. Nigel was a Band working on The Tonight Show With Don Lane. In ’83 foundation member of the Sydney Alpha Ensemble and has Nicola Bell oboe Nigel was appointed Principal Trombone to the Tasmanian appeared as guest with other contemporary music groups, Nicola Bell is an Australian oboist who has been living and Orchestra. In Australia she has performed as guest Principal Symphony orchestra and occupied that position for 6 years notably Elision, Seymour Group and Ensemble Offspring. working in Europe since 2010. After studies in Sydney, Oboe with the Opera Australia Orchestra and Western before moving to Sydney to freelance where he appears This year marks Nigel’s seventh appearance at CIMF. Gothenburg and Lyon, she completed her Masters with Australia Symphony Orchestra. Nicola performed with the regularly with Opera Australia Orchestra, SSO, ACO and Francois Leleux in Munich and went on to hold the position New Theatre Ensemble in Tallinn from 2015-2016 as part of of Principal Oboe with the Estonian National Symphony the Tallinn Chamber Music Festival and the Estonian Concert Jacqueline Dossor double bass Orchestra. She has appeared as guest principal with many Elite Series, as well as with the Munich Winds from 2014- Originally from Sydney, Jacqueline moved to the UK in 2004 Opera, and English National Ballet. Jacqueline commutes orchestras including Finnish National Opera, Finnish Radio 2015. She performed as a soloist in Bach’s Double Concerto when she was awarded a scholarship to study at the Royal regularly between the UK and Australia throughout the year, Symphony Orchestra, BBC National Orchestra of Wales, for Violin and Oboe with Orchestra 143 Sydney in 2010. Academy of Music in London. Since graduating, Jacqueline as the principal double bass player for the Australian Haydn Swedish Chamber Orchestra and the Munich Symphony has continued to work regularly with a variety of UK orchestras Ensemble, and occasionally performing as guest principal and ensembles such as the English Chamber Orchestra, the with Australia’s other top period orchestras: Pinchgut Opera/ Cecilia Bernardini classical violin Orchestra of the Age of Enlightenment, BBC National Orchestra of the Antipodes and the Australian Brandenburg Dutch–Italian Cecilia Bernardini is widely considered to Kristian Bezuidenhout, pianist Alexandre Tharaud and Orchestra of Wales, Welsh National Opera, English Touring Orchestra. be one of the most versatile violinists of her generation, cellist Colin Carr. In 2012 Cecilia was appointed leader of performing on both the modern and the baroque violin. the Dunedin Consort, based in Scotland, with whom she has Claire Edwardes percussion With her great passion for chamber music, Cecilia is a recorded Bach's St. John Passion and a best-selling disc of Claire Edwardes’ award-winning performances combine the Amsterdam Sinfonietta, Radio Chamber Orchestra, member of the Serafino String Trio, joining violist Giles the Brandenburg Concertos, which has been nominated for a theatrical energy with charismatic and original Liverpool Philharmonic and Brabants Orkest and worked Francis and cellist Timora Rosler. She has a duo with a Gramophone award at the same time as Mozart’s Requiem interpretations bringing to life the varied array of music she regularly with new music ensembles. She presented fortepianist Keiko Shichijo (with whom she did an extensive by the same group. Future releases with the Dunedin Consort performs. In 1999 Claire won the coveted ABC Symphony regular solo recitals throughout Europe at venues such as Australia Young Performers Award and in 2005 she was the Concertgebouw (Amsterdam) and Queen Elizabeth tour at the Utrecht Oude Muziek Festival) and regularly include Bach's Violin Concertos, his Christmas Oratorio and awarded the MCA/Freedman Fellowship for Classical Music. Hall (London) and featured in major contemporary music performs with her father, baroque oboist Alfredo Bernardini. his Magnificat. Cecilia plays on a 1743 Camillus Camilli violin In 2016, 2012 and 2007 she won the AMC/APRA Art Music festivals. She collaborated closely with highly regarded Past Chamber music partners include baroque violinist kindly loaned by the Jumpstart Foundation. Stanley Ritchie, double-bass player Rick Stotijn, fortepianist Award for Excellence through her commitment to Australian composers such as Steve Reich, Harrison Birtwistle music. In 2014 she was the recipient of a prestigious two year and James McMillan.Returning to Sydney in 2006 Claire Fletcher Cox trumpet Australia Council Music Fellowship. In 1997 Claire graduated became the Artistic Director of the music group she was a Fletcher Cox completed his Bachelor’s degree at the He has worked professionally with many orchestras and from the Sydney Conservatorium; she was the recipient founding member of in 1996, Ensemble Offspring. Recent University of the Western Australia, studying under Brent ensembles, including the Sydney, Melbourne, Tasmanian of the NUFFIC Huygens Dutch Government Scholarship performance highlights include concertos with Australia’s Grapes and Evan Cromie. Since moving to Melbourne in and West Australian Symphony Orchestras, the latter two of and later the Queen Elizabeth Trust Award, which funded leading symphony orchestras, solo appearances at several 2016, he has been studying under Dave Elton and Tristram which he has appeared as Guest Principal Trumpet. Fletcher her studies abroad. During a successful period based festivals, and collaborations with an array of artists from Williams at the Australian National Academy of Music, where is also enthusiastic about solo and chamber music, teaching in Europe (1999-2006), she undertook a Masters of Mike Patton to the Australian String Quartet. Claire teaches he is currently in his final year. As a performer, Fletcher has and music advocacy. Music at the Rotterdam Conservatory and then at the composition and percussion at the Sydney Conservatorium appeared onstage in numerous settings across the country. Amsterdam Conservatory. Claire performed as soloist with as well as Australian National Academy of Music.

Peter Clark violin Tim Fain violin Widely considered one of the most dynamic young of his leadership. His first performance in Carnegie Hall Avery Fisher Career Grant-winning violinist Tim Fain was Slave, and Black Swan, where he also appeared on screen. musicians in Australia today, Peter is known for the energy he was with the Australian Chamber Orchestra when he was heard on the soundtracks to the filmsMoonlight , 12 Years a Recipient of the Young Concert Artists International award, brings to his directing and the refreshingly dynamic nature still too young to legally drink wine afterwards. Since then, 98 99 he has appeared as soloist with the Pittsburgh and Baltimore which introduced its 360 stereoscopic VR capability for of Historical Performance within the Historical Performance Festival (UK) and Pegasus Music (US). He is involved in on- (Marin Alsop) Symphonies, American Composers Orchestra YouTube, and was recently shown at The Sundance Film Division (which he founded) and Program Leader of going projects with the Australia Haydn Ensemble including, (Carnegie Hall), Orchestra of St. Luke's, The Hague and Festival. His discography includes "Arches," "River of Postgraduate Research at the Sydney Conservatorium of in 2017, performances of Beethoven’s Piano Concerto no. Buffalo Philharmonics, Mostly Mozart and National Light,” “Fain plays Glass,” and “First Loves.” His solo multi- Music. His monograph Off the Record: Performing Practices 5, and a recording of Beethoven’s Piano Concertos nos. 1 Orchestra of Spain, among others. His recitals have taken media evening "Portals" premiered to sold-out houses and in Romantic Piano Playing (New York: Oxford University and 3 to be released in 2017. Winner of the 2008 Fine Arts him to world's major music capitals, he has toured with features collaborations with Benjamin Millepied, Leonard Press, 2012) is hailed as a book that ‘no serious pianist should ARIA for Best Classical Recording for Bach’s Sonatas for Musicians from Marlboro, the Chamber Music Society of Cohen, Nicholas Britell, film maker Kate Hackett, and radio be without’ (Limelight, 2012) and was the subject of a five- violin and obbligato harpsichord (ABC Classics, 2007) with Lincoln Center, and around the globe in a duo-recital program personality Fred Child and a new work written for him by part series broadcast by ABC Classic FM. During 2015-16 Richard Tognetti and Daniel Yeadon, Neal’s discography with Philip Glass. He recently collaborated with Google on a Philip Glass. Neal was a chief editor (with Clive Brown and Kate Bennett includes: Bach’s Complete Sonatas for Viola Da Gamba and Virtual Reality music video for his composition, Resonance, Wadsworth) for the new Bärenreiter Urtext performing Harpsichord with Daniel Yeadon (ABC Classics, 2009), The edition of the complete Brahms chamber works for one solo Baroque Trombone with Christian Lindberg and the ACO Ben Hoadley bassoon Ben is a prominent bassoon player from New Zealand, and several orchestras and ensembles in Australia. In instrument and piano which has received critical acclaim. (BIS, 2009); The Galant Bassoon with Matthew Wilke and currently lecturer at the University of Auckland. He has recent times he has released various CDs of contemporary Bärenreiter have commissioned Neal (with Clive Brown) to Kees Boersma (Melba, 2009); Baroque Duets (Vexations studied historical bassoon and is dedicated to contemporary bassoon music, including Arapātiki, works written for him produce editions of the Beethoven and Eberl Sonatas for 840, 2011) which he directed with Fiona Campbell, David music. He has formed a special connection with the Hartford by Dame Gillian Whitehead. Last year he premiered a new violin and piano. Neal has recently received ARC funding for Walker and Ironwood; Music for a While with Ironwood and Symphony Orchestra, the Boston Symphony Orchestra concerto by Alex Taylor. a three-year Discovery Project (2017-19) for performance Miriam Allan (2012); 3 with Genevieve Lacey and Daniel research in 19th-century piano playing. eal regularly performs Yeadon (ABC Classics, 2012); Mozart: Stolen Beauties with Magdalenna Krstevska clarinet with Australia’s leading ensembles including the Australian Anneke Scott and Ironwood (ABC Classics, 2015) and most A graduate of the Melbourne Conservatorium of Musics, Festival, and performed in the Musica Viva International Chamber Orchestra, Sydney Symphony Orchestra, Pinchgut recently Brahms: Tones of Romantic Extravagance (ABC Magdalenna recently completed her studies at the Australian Chamber Music Festival as part of the Australian Youth Opera, the Song Company, the Australian Haydn Ensemble Classics, 2016). He has also recorded extensively on the National Academy of Music (ANAM), under David Thomas. Orchestra (AYO) Chamber Players program. Magdalenna and Ironwood. He has performed at the Festival Baroque, Channel Classics label with Florilegium, the British ensemble Her accolades include the Australian National Young has performed with professional and top youth orchestras the Peninsula Summer Festival, the Music Viva Festival, the which he co-founded in 1991. Neal Peres da Costa appears Virtuoso of the Year Award. In 2017, she was selected as a all over the country. Most notable experiences include Australian Festival of Chamber Music, the York Early Music courtesy of the Sydney Conservatorium of Music. finalist in the ANAM Concerto Competition, performing the performances with the Melbourne, Sydney and Tasmanian

Nielsen Clarinet Concerto with the Tasmanian Symphony Symphony Orchestras, the Australian World Orchestra and Christopher Pidcock cello Orchestra. Magdalenna has previously appeared as a multiple international tours with the AYO, with whom she has Canberra cellist Christopher Pidcock has performed and Yo-Yo Ma and Riccardo Muti. On his return Christopher Featured Young Artist at the Canberra International Music held the position of Principal Clarinet. studied across Australia and internationally. His awards became a perminant member of the Sydney Symphony include 2007 Gisborne International Music Competition Orchestra in 2013, and has toured with them to China and Ned McGowan flute, contrabass flute Ned McGowan is a composer, teacher, flutist, improviser, Teapot, the orchestra is spatialized around the public, which (New Zealand) 1st prize, a Churchill Fellowship in 2008, soon South Korea and Eastern Europe. Christopher is a curator and researcher. Known for rhythmical vitality and also participates in creating sounds. McGowan composed the 2009 Nelson Meers Foundation Scholarship at the founding member of the newly established Sydney Piano technical virtuosity, his music has won awards and been the world's first Concerto for iPad and orchestra, which saw Sydney Eisteddfod, and Semi-finalist in the 2010 ABC Trio and regularly gives recitals across Australia and America. performed at Carnegie Hall, the Concertgebouw and its premiere with soloist Keiko Shichijo and the Rotterdam YPA. In 2012, Pidcock returned from Chicago where he Christopher is currently studying a Doctor of Musical Arts th other halls and festivals around the world. Orchestras who Sinfonia. Ned’s specialty is the contrabass flute. In 2008 completed a Performance Certificate with Hans Jensen at focussing on 19 century performance techniques in the have performed his works include American Composers he composed the first concerto for contrabass flute Northwestern University, where he was also a member of chamber works of Brahms and his contemporaries. Orchestra, Valdosta Symphony Orchestra (USA), Orquestra and orchestra. In 2016, he released his album The Art of the Civic Orchestra of Chicago, giving performances with do Teatro Nacional Claudio Santoro (Brazil) and the Dutch the Contrabass Flute, an album dedicated solely to this Veronique Serret violin orchestras Radio Kamer Filharmonie, Radio Filharmonisch amazing instrument. He has composed often for flute and Veronique Serret has played with the Australian Chamber frequently performs with the Sydney Symphony Orchestra, Orkest, Gelders Orkest, Rotterdam Sinfonia and Ricciotti; also for recorder in solo and chamber ensembles. Ned is Orchestra for many years and was recently appointed and has appeared as guest principal violin with the ensembles include Eighth Blackbird, Klang, Nederlands a professor at the Utrecht Conservatory in composition, Concertmaster of the Darwin Symphony Orchestra. She Tasmanian Symphony. Blazers Ensemble, Spinifex and Zephyr String Quartet. ensembles and the rhythmic training program he has Soloists he has worked with include Susanna Borsch, Keiko developed, called Advanced Rhythm and Pulse. He holds Keiko Shichijo piano, fortepiano Shichijo, Guy Livingston, Reiko Manabe, Mysore Manjunath, degrees in composition from the Royal Conservatory The Keiko Shichijo is a pianist and fortepianist based in Deeply knowledgeable about the sound, technique and history Derek Bermel, Sarah Jeffrey, Egbert Jan Louwerse and Eric Hague and in flute from the Cleveland Institute of Music and Amsterdam. She is active around the world, performing solo of keyboard instruments, her programs combine the classical Vloeimans. Many of his works utilize unusual instrumentations, the San Francisco Conservatory of Music. recitals and chamber music, with a focus on both historical and the new with a personal touch that shows her feeling for the extended techniques or theatrical setups. For Tempest in a performance and on music from the 20th and 21st century. music, the instruments and the story behind them.

Neal Peres Da Costa continuo Rachael Shipard piano A graduate of the University of Sydney, the Guildhall School of the University of Leeds (UK), Neal Peres Da Costa is a world- Brisbane resident Rachael Shipard recently graduated from cum laude with the University Medal from Queensland Music and Drama (London), the City University (London) and renowned performing scholar and educator. He is Professor her Bachelor of Music (Advanced Performance) summa Conservatorium Griffith University and is presently 100 101 undertaking her Masters of Music Research under the Variations Foundation Scholarship. She frequently gives E-minor Partitas, and is a recipient of the Goethe Prize and 2009, he premiered Of the Sound of Life (a sixty-five-minute tutelage of Natasha Vlassenko. In 2017, Rachael participated recitals and has had masterclasses with pianists Peter Diapaison d’or by German and French critics for recordings collection of twelve etudes) by the contemporary German in the final Hamamatsu International Piano Academy in Donohoe, Alexander Strukov, Peter Hill, Roy Howat, Piers of works dedicated to him by Morton Feldman. As a chamber composer Peter Michael Hamel. His recordings of this and Japan, and was a prize-winner at the Lev Vlassenko Piano Lane, Vladimir Tropp and Gil Garburg. Rachael is also very musician he has worked with Ivry Gitlis, Philippe Hirschhorn, of Hans Otte’s Book of Hours and Rolf Gehlhaar’s Diagonal Competition. She won the Queensland Piano Competition passionate about chamber work, piano duo music, and the Tokyo and Arditti String Quartets and is the frequent Flying were greeted enthusiastically by the German critics. and made her concerto debut in 2015. Winner of numerous sacred music. She hopes to enrich the lives of others with partner of the Alexander String Quartet. At the invitation of He is recipient of the Polish Order of Merit, Order of the Conservatorium academic and performance awards, the music she brings to a wide range of audiences. the late Sviatoslav Richter Roger Woodward performed with British Empire, Chevalier of the French Ordre des Arts et des Rachael was awarded the prestigious 2017 Theme and the Arditti String Quartet at La Grange de Meslay, Tours. In Lettres, and is a Companion of the Order of Australia.

Simon Tedeschi piano Daniel Yeadon classical cello,cello piccolo, gamba Simon Tedeschi first performed a Mozart Piano Concerto Orchestra under the baton of Richard Bonynge and in 2013 Daniel Yeadon is exceptionally versatile as a cellist and the period instrument ensembles based in London, including at age 9 in the Sydney Opera House. At age 13, he gave a recorded Gershwin and Me (Universal/ABC). Charitable viola da gambist, performing repertoire ranging from the the English Baroque Soloists and the Orchestra of the Age private recital to the iconic Italian tenor Luciano Pavarotti. performances and commitment to worthwhile causes Renaissance to contemporary. As a chamber musician he has of Enlightenment. Daniel has made many award-winning He has a string of international prizes and scholarships have been prominent in Tedeschi’s career. He played for performed in many major venues and festivals throughout recordings, including an ARIA winning disc of sonatas by J.S. under his belt. While working with the Melbourne the Dalai Lama at a fundraising concert in London (2000), the world. He co-founded Ironwood, an Australian ensemble Bach with Richard Tognetti and Neal Peres Da Costa; the Symphony Orchestra Tedeschi was named the Symphony for the Karuna Foundation in support of Cambodian known for its presentations of the classics alongside new J.S. Bach sonatas for viola da gamba and harpsichord with Australia Young Performer of the Year; more recently, Orphans and at the Sydney Opera House gala concert for commissions for early instruments. Daniel is a part-time Neal Peres Da Costa; J.S. Bach cantatas and Brandenburg he was awarded a Centenary of Federation Medal by the the Wayside Chapel. Tedeschi is the Roving Ambassador for member of the Australian Chamber Orchestra, has appeared concertos with John Eliot Gardiner and English Baroque Prime Minister of Australia. He has shared the stage with The Australian Children’s Music Foundation, Ambassador as soloist with the Australian Brandenburg Orchestra and Soloists, in addition to many critically acclaimed recordings numerous acclaimed musicians, including conductor Alan for Sydney Eisteddfod, and patron of Ryde Eisteddfod, has performed on several national chamber music tours with Ironwood, Florilegium and the Fitzwilliam Quartet. Daniel Gilbert, soprano Yvonne Kenny, jazz luminary James the Bowraville Cultural Festival and the Blue Mountains for Musica Viva Australia. He performs every year with is in much demand as a teacher. Associated with the Sydney Morrison and Larry Adler, the legendary Harmonica player Concert Society. Recent seasons include a follow up Pinchgut Opera. Originally from the UK, Daniel read physics Conservatorium of Music since 2005, he also has a key role in who called Tedeschi ‘the greatest pianist he ever heard.’ In Gershwin album for Universal/ABC entitled Gershwin Take 2. at Oxford University and studied historical performance at the education team of the ACO. He is currently undertaking a 2004, Tedeschi recorded Tchaikovsky’s 1st Piano Concerto He has just released a recording of Mussorgsky’s Pictures at the in London. For many years he was PhD focusing on the group learning experiences of students and Grieg’s Piano Concerto with the Queensland Symphony an Exhibition for ABC/Universal. a member of the renowned period instrument ensemble in tertiary music institutions. Florilegium and later joined the Fitzwilliam String Quartet. Daniel Yeadon appears courtesy of the Sydney James Wannan viola, violin Daniel continues to be guest principal cellist with many of Conservatorium of Music. Violist James Wannan is based in Sydney, having previously James perform oud in the Sydney Festival with SCO and as studied viola with Alice Waten in Melbourne and viola viola d’amore soloist in the Sydney Biennale. As a soloist d’amore in Vienna with Marianne Rônez. He explores his James has worked with orchestras including the Melbourne passion for music from ancient to contemporary on a Chamber Orchestra, the Tasmanian Symphony Orchestra, number of instruments. In 2015 James performed as violin and the Melbourne Symphony Orchestra. He has performed And ... soloist in Elliott Gyger’s opera Fly Away Peter featured at as a viola d’amore soloist in festivals in Austria and Germany, the Melbourne Festival, recorded a CD of music by Jack and has been invited to perform as guest principal viola with Symonds, collaborated on five Australian premieres and the Hong Kong Philharmonic Orchestra. He toured Europe toured to China with the Sydney Symphony. 2016 saw as principal viola of the Asia Pacific United Orchestra. Benjamin Bagby Benjamin Bagby is descended from a Germanic clan which Europe and North America. He is currently on the faculty Roger Woodward ac, obe piano emigrated from Jutland to northern England in ca. 630, from of the Sorbonne University in Paris, where he teaches in the The Australian pianist Roger Woodward performs both as soloist with orchestras such as the Leipzig Gewandhaus, where his branch of the family emigrated to the colony of master’s program for medieval music performance practice. traditional and contemporary repertoire although his five London orchestras, the Los Angeles and New York Virginia almost a millennium later. Following 321 years of In addition to his work with Beowulf, Mr. Bagby and Sequentia musical training is steeped in church music and the romantic Philharmonic orchestras and the Cleveland orchestra under subsequent family wanderings, he was born on the shores have produced two CDs of musical reconstructions from repertory. He rose to international prominence in prestigious such distinguished conductors as Claudio Abbado, Zubin of the Great Lakes, and twelve years later was captivated the medieval Icelandic Edda, one of which, ‘The Rheingold collaborations with Olivier Messiaen, Pierre Boulez, Jean Mehta, Lorin Maazel, Kurt Masur and Erich Leinsdorf. Roger by Beowulf. Several years after moving back to Europe in Curse’, was also staged by Ping Chong. The ensemble's most Barraqué, John Cage, Morton Feldman, Toru Takemitsu, Woodward’s recording of Bach’s Well-Tempered Clavier 1974 he founded – together with the late Barbara Thornton recent CD, ‘Fragments for the End of Time’, explores early Luciano Berio, Iannis Xenakis, Arvo Pärt, Larry Sitsky, Richard was Editor’s Choice for The Gramophone (Feb. 2010), and – the ensemble for medieval music, Sequentia, which was medieval songs about the Apocalypse. A DVD production of Meale, Anne Boyd, Ross Edwards and Barry Conyngham, German and UK critics described this release as setting a based in Cologne, Germany, for 25 years. Both Mr. Bagby and Mr. Bagby’s ‘Beowulf’ performance, filmed by Stellan Olsson and worked with such contemporary German composers as new standard after Gould and Barenboim. He was awarded Sequentia are now based in Paris. In addition to his activities in Sweden, became available in 2007. It contains numerous Peter Michael Hamel, Rolf Gehlhaar, Hans Otte and Karlheinz the prestigious Preis der Deutschen Schallplattenkritik for as singer, harper and director of Sequentia, Benjamin Bagby extra features, including interviews with noted Anglo- Stockhausen. Such collaborations launched a major career his Celestial Harmonies recording of Bach C-minor and writes about performance practice and teaches widely in Saxonists and the performer.

102 103 Specialist to create and implement a program that catered to use. Mr Tim set about writing his own songs for children. John Bell ao, obe to boys’ education. With the resounding success of this, he His songs quickly gained notice from parents, children John Bell is one of the nation’s most illustrious theatre Bell Shakespeare have included Hamlet, Shylock, Henry V, continued on developing the program; composing original and teachers when they were performed at Mr Tim school personalities. Award-winning actor, acclaimed director, Richard III, Macbeth, Malvolio, Berowne, Petruchio, Leontes, songs and performance items and creating Professional concerts. Inspired by the success of this, he put together a risk-taking impressario and torch-bearing educationalist, Coriolanus, Prospero, King Lear, Andronicus, and Jaques. Development workshops for teachers. This led to his inspired nine piece rock band to record an album of sophisticated Bell has been a key figure in shaping the nation’s theatrical Bell also played the title role in two co-productions with Extravaganza Program that takes around 400 children in 4 childrens’ music for kids, parents and teachers to enjoy identity as we know it over the past 50 years. After graduating Queensland Theatre Company, and directed Madame days to perform an out-of-this-world concert for the local entitled Bartimus Fum’s Rock Mission, and has now released from Sydney University in 1962, Bell worked for the Old Tote Butterfly for an Oz Opera national tour. Bell’s unique community. Early in his teaching career, he quickly noticed his second album ‘I Can Fly’. Theatre Company, all of Australia’s state theatre companies contribution to national culture has been recognised by a lack of engaging song material for the everyday classroom and was an Associate Artist of Britain’s world-famous Royal many bodies. He is an Officer of the Order of Australia and Shakespeare Company. As co-founder of Sydney’s highly the Order of theBritish Empire; has an Honorary Doctorate Leonard Weiss influential Nimrod Theatre Company, Bell presented many of Letters from the Universities of Sydney, New South Wales Leonard Weiss is a conductor based in Canberra, Australia, Louise Page OAM, Susannah Lawergren, countertenor Tobias productions of landmark Australian plays, including David and Newcastle; and was recognised in 1997 by the National where he is the Musical Director/Conductor of the Canberra Cole, tenor Paul McMahon, baritones Christopher Hillier, Williamson’s Travelling North, The Club and The Removalists. Trust of Australia as one of Australia’s Living Treasures. In Youth Orchestra, the National Capital Orchestra, the David Greco and Jeremy Tatchell. Leonard is passionate In 1990, Bell took on an even greater challenge, founding 2003, the Australia Business Arts Foundation also awarded Canberra Qwire and the ANU Choral Society. Leonard was about showcasing contemporary works. He has conducted The Bell Shakespeare Company. Since then, his productions Bell the Dame Elisabeth Murdoch Cultural Leadership the 2016 Young Canberra Citizen of the Year for Youth Arts World and Australian premieres by Philip Glass, Christopher as director have included Hamlet, Romeo and Juliet, The Award. As an actor and director, his many awards include a and Multimedia, an ACT Finalist for 2016 Young Australian Gordon and Sally Greenaway, as well as significant Canberra/ Taming Of The Shrew, Richard III, Pericles, Henry IV, Henry V, Helpmann Award for Best Actor, a Producers and Directors of the Year and recently received a Canberra Critics' Circle regional premieres by Carl Vine AO, Graham Koehne AO, and Julius Caesar, Antony And Cleopatra, The Comedy Of Guild Award for Lifetime Achievement and the JC Williamson Award for Music. Career highlights include conducting jazz Matthew Hindson AM. On top of his conducting portfolio, Errors, Wars Of The Roses, Measure For Measure, Macbeth, Award (2009) for extraordinary contribution to Australia’s legend James Morrison AM, a cappella icons The Idea of Leonard is a noted composer, performer, and music reviewer The Tempest and As You Like It. His roles as an actor for live entertainment industry. North, harpist Alice Giles AM, and Grammy Award quadruple- for The Canberra Times. He is often requested as a harpist nominee cellist Dave Eggar. Leonard has shared the stage for government functions including for the Prime Minister, Paul English with some of Australia's most highly acclaimed performers and has toured as a carillonist by invitation throughout Paul English is an actor with a distinguished career in theatre, programs. He narrated the TV documentary , The Highest including pianists Dr. Edward and Dr. Stephanie Neeman, Belgium, Germany, Denmark and the USA. television and film. He is well-known to Australian audiences Court and recorded many books for Louis Braille Audio, The guitarist Matt Withers, and vocalists including sopranos for his appearances in such television dramas as Wentworth, ABC and Bolinda Audio, including Peter Carey’s True History Gallipoli, Stingers and Blue Heelers, and has appeared on Of The Kelly Gang and Li Cunxin’s Mao’s Last Dancer which stage with The Bell Shakespeare Company, the Playbox won an Audiofile Magazine Earphones Award. He was Vision and the Melbourne Theatre Company. Paul has worked for Australia’s Narrator of the Year in 2003 for Robert Dessaix’s ABC Radio National in over 100 plays, features and poetry Corfu. Andrew Ford Andrew Ford is a composer, writer and broadcaster who Chamber Music. In 2014 he was Poynter Fellow and Visiting has won awards in each of those capacities, including the Composer at Yale University and, in 2015, Visiting lecturer 2004 Paul Lowin Prize for his song cycle Learning to Howl, at the Shanghai Conservatory. A former academic, Ford has a 2010 Green Room Award for his opera Rembrandt's Wife written widely on all manner of music and published nine and the 2012 Albert H Maggs Prize for his large ensemble books, most recently The Memory of Music (Black Inc., 2017). piece, Rauha. He has been composer-in-residence for the He has written, presented and co-produced five radio series Australian Chamber Orchestra, the Australian National and, since 1995, presented The Music Show each weekend Academy of Music (ANAM) and the Australian Festival of on ABC Radio National.

Genevieve Jacobs Genevieve Jacobs has been a journalist for 30 years, She works with a wide range of organisations including the working in print and radio. She spent over a decade with Tara Costigan foundation, Gift of Life ACT and ACT Wildlife WIN A HARVEST OF RICHES ABC Canberra, reporting on everything from politics to Rescue among others and sits on the ACT’s advisory human interest, and developing a deep understanding of committee for historic places. She has an enduring interest WITH THE 2018 FESTIVAL AUTUMN RAFFLE her community. Telling our city's stories is her great passion. in the arts and in strengthening community engagement. TICKETS ARE JUST $20 FOR 3, OR $10 EACH Mr. Tim Tickets available in the Festival marquee or buy online at www.cimf.org.au/raffle Mr Tim is a Performing Arts teacher based in the ACT. His of Music, Mr Tim also gained experience in childrens’ choirs unique classroom style and entertaining energetic lessons as both an accompanist and conductor. After completing have earned him a reputation as an inspiring teacher and his music degree, Mr Tim completed a Diploma of Education performer. Trained as a classical pianist at the ANU School (Secondary) and was then employed as a Performing Arts 104 105 Coro The Canberra Wind Symphony Brenda Gill soprano Hilary Howes alto Nick Bulleid bass Geoff Grey Caroline Christenson bass clarinet Farzana Choudhury trumpet Emma Griffithsso prano Maartje Sevenster alto Andrew Fysh oam bass artistic director and chief conductor David Whitbread bassoon Al Clarke trombone Alexandra Hughes soprano Paul Eldon tenor Andrew Koll bass Sarah Nielsen (Concertmaster) Jordan London bassoon Daniel Duque trombone Catherine Schmitz soprano Thomas Liu tenor Daniel Sanderson bass flute Jordan London contra-bassoon Felicity Boxall BASS trombone Philippa Brant alto David Mckay tenor Sarah Hewat flute Marijke Welvaert alto saxophone Jo Stephenson euphonium Anne-Marie Dalseg alto Ian Mills tenor Paul Broomhead piccolo Woody Wang alto saxophone Gabby Mears tuba Stephen Hally-Burton Lauren Thurlow tenor saxophone David Sunderland tuba Kompactus e-flat clarinet Angela Liu french horn Elizabeth Charlton double bass soprano alto bass Verónica Fraile del Álamo Anita Moser Emlyn Graham Tim Artelaris clarinet Nicole Fung french horn Jen Hinton percussion soprano tenor bass Aislinn Grimley Michael Gill Joel Wilson Jenny Popovic clarinet Dianne Tan french horn Brandon Reed percussion alto tenor Sarah Campbell Mark Straton Stephen Hally-Burton clarinet Iain Hercus french horn Alicia Perritt percussion Luminescence Chamber Singers Paul Crouch clarinet Mike Purcell trumpet Andrew Brown percussion Chloe Lankshear soprano Olivia Swift alto Patrick Baker bass-baritone Mami Iwashita clarinet Julie Watson trumpet Annie Eggleton percussion Veronica Milroy soprano Cody Christopher tenor Charles Bogle bass-baritone Molly Campbell clarinet Claire Leske trumpet Emily Leong piano AJ America mezzo-soprano David Faraker tenor ANU Students at the Arboretum Turner Trebles Rachel Warren Elsa Huber Joel Dreezer Charlie Archer Malik Mahesa Daniswara Neve McDonald Gemanuelle Magpantay Joshua Robinson Sebastian Gordon Ellie Archer Lucy Dunston Annabella McInnes Liam Sinclair Caitlin Manning Yeh Zhao Amelia Bell Sophie Frost Lucy Quinn Chloe Sinclair Dominique Smith Olive Beudel Gabriel Galeotti Morgan Quinn Emily Coper-Jones Ben Keough Asian Biddle Miani Kirk Mia Thornton Grace Bullen Mion Kirk David Windeyer The Festival Sinfonia Zac Connor Leo Lloyd-Jones Oliver Windeyer Tobias Aan violin Stephanie Arnold cello Richard Fomison trumpet Cecilia Bernadini violin Anton Baba cello Simon Wolnizer trumpet Vocal Fry Meg Cohen violin Karol Kowalik cello Nigel Crocker trombone Asha Aikman Harry Jones Jarrah Palethorpe David Dalseno violin Miles Mullin-Chivers cello Ros Jorgensen trombone Ruth Begbie Manuka Krolikowski Noah Palethorpe Anna Da Silva Chen violin Federico Toffano cello Brett Page trombone Ethan Bendeich Ethan Lee Christina Pilgrim Madeleine Easton violin Danny Yeadon cello Bjorn Pfeiffer tuba Kirsten Busby Jasmine Leong Holly Saunders Stephen Freeman violin Simone Vallerotonda theorbo Veronica Bailey percussion Gabriel Cole Jacqueline deBeyer McIntyre Harrison Shaw Daniel Kowalik violin Jacqui Dossor double bass Claire Edwardes percussion Marcel Cole Anila McLoughlin Julius Stoljar Helena Popovic violin Peter Maddigan oboe Gabriele Miracle percussion Rory Davison Jessica Manclark Cassidy Thomson David Rabinovici violin Aaron Reichelt oboe Alice Giles harp James Gardner Saskia Meir Amos Walker Benjamin Tjoa violin Jessica Lee flute Tegan Peemoeller harp Peter Gedeon Hannah Nolte-Crimp Tessani Wells Thomas Chawner viola Ned McGowan flute Roland Peelman harpsichor/organ Zoë Gedeon Thomas Nolte-Crimp Isaac Witrzens Deidre Cohen viola Nicole Sherringham flute Neal Peres da Costa harpsichord Eve Hudson Elise Palethorpe Justin Julian viola Ben Hoadley bassoon Bach Akademie Australia James Wannan viola Simon Rickard bassoon Madeleine Easton Richard Fomison trumpet Neal Peres da Costa director and violin Stephen Freeman violin organ/harpsichord Anton Baba viola da gamba/cello Andrew Fysh oam bass David Rabinovici violin Alexandra Bailliet-Joly flute Ben Hoadley bassoon Aaron Reichelt oboe Richard Butler tenor Ros Jorgensen trombone Simon Rickard bassoon JOIN US FOR NEXT YEAR FOR Meg Cohen violin Susannah Lawergren soprano Nicole Sherringham flute Tobias Cole alto Jessica Lee flute James Wannan viola THE BEST FESTIVAL EVER Nigel Crocker trombone Peter Maddigan oboe Simon Wolnizer trumpet Jacqui Dossor double bass Mikaela Obert flute Daniel Yeadon viola da gamba/cello - viola ` 3 12 MAY 2019 Deidre Dowling Brett Page trombone

For more information visit us in the Festival Marquee or head to www.cimf.org.au/25years

106 107 2017 Festival Team Pro Musica Board:

Bev Clarke President Kent Chambers Roland Peelman Artistic Director Gavin Findlay General Manager Dorothy Danta Vice-President James Treloar Hanna-Mari Latham Office and Finance Manager Govert Mellink Vice-President Catherine Hawkins

Will Laurie Treasurer David Chessell PRODUCTION Alex Raupach Program Manager Anna Prosser Genevieve Jacobs Isaac Dugdale Production Coordinator Christina Cook

Lillian Hannock Artist and Social Media Coordinator Volunteers: Rachel Gould Fitters’ Workshop Venue Manager Andreea Ardeleanu, Robyn Boyd, Maureen Boyle, Graham Chalker, Helen Cory, Sally Curlewis, Neil Simpson Fitters’ Workshop Technical Manager Marianne Davidson, Anne Davis, Colleen Fox, Sally Greenaway, Ros Greenwood, Ian Hawke, Iwona Steve Crossley Logistics and Fitters’ Workshop Site Manager Hawke, Leanne Hillier, Anthony Hogan, Norman Hughes, Saya Ikegawa, Pauline Jennings, Barbara Jesiolowski, Holly Jiang, Gayle Lander, Joanne Rachel Letts, Nicole Logue, Agnieszka Malzacher, Victoria Lees Transport Coordinator Jurek Malzacher, Pamela McKay, Jan O'Connor, Mark Parsons, Clara Pelloquin, Eric Pozza, Anna Jeannette Horne Artist Catering Prosser, Marlene Radice, Jan Reksten, Richard Rowe, Christina Sainsbury, Gabriela Samcewicz, Kai Klara Beresnikoff Accommodation Coordinator Scott, Robin Sevenoaks, Julie Shaw, Jackie Simons, Ewa Talent, Jennifer Whipp, Tamara Wilcock, Shar Wyer, Grace Yang Darren Russell Technical Consultant Joshua Robinson, Serena Ford, Tahni Chan, Hayley Manning, Natsuko Yonezawa, Billeters: Roanne Darling Production Interns Jan Adams, Dianne Anderson, Michael and Virginia Banyard, Lynne and Noel Bentley, Klara Rowan Heffernan, James Snedden, Tanique Honeysett Beresnikoff and John Marshall, Andrew Blanckensee and Julie Matthews, Dorothy Cameron, Bev Clarke, Mary and Philip Constable, Sally Curlewis, Robert Goodrick, Marlene Hall, Jenny and Work Experience Production Assistants David Harper, Sue and Geoff Hayes, Peggy Horn, Elspeth and Graham Humphries, Claudia Hyles, MARKETING AND PUBLIC RELATIONS Barbara and John Inglis, Margaret and Peter Janssens, Maya and Obada Kayali, Carol and Richard Kenchington, Gerda Lambeck, Mary Martin, Govert and Lilian Mellink, Helen Moore, Ilona and James Krista Vincent Marketing Co-ordinator Nichterlein, Brendan and Helen O'Loghlin, Mark Parsons, Carolyn Philpot, Eric Pozza and Megan Katie Radojkovic (in partnership with HerCanberra) Graphic Designer Curlewis, Diana Primrose, Anna and Bob Prosser, Lynlea and Clive Rodger, Michael Stenning and Geoff Millar Publications Manager Leonie John, John and Jill Studholme, Prue Watters, Peronelle and Jim Windeyer Dan Sloss IT and Ticketing/ Embassy and Guest Liaison Special Thanks: Peter Hislop, William Hall and Anthony Browell Photography The Festival staff would like to express heartfelt thanks to the Board of Pro Musica Inc. and our Jon Holden Videography team of dedicated volunteers without whom this Festival would not be possible. Thanks also to Ralph Lane OAM Audio Recordings those organisations and people who help us keep our office running all year round:

Faye Lawrence Media and marketing Intern TryBooking: Delma Dunoon FRONT OF HOUSE Ainslie Arts Centre: Justin Watson, Elizabeth Curry , Callie Doyle-Scott Jenny Harper Box Office and Front of House Manager WOTLink: Anthony Miller, Regan Harrison Liz McKenzie Volunteer Coordinator Technowand: Rahul Chalwa Margaret Janssens Membership Secretary and Catering Coordinator Blue Arc IT Solutions: Graeme Thornton and team Helen Moore Front of House Host Andrew Blanckensee Bar Manager

108 109 Concert Supporters Artist Supporters

Concert 1 Opening Gala is supported by Bev Aitkin & Don Aitkin AO The Acacia Quartet January 28 presentation was supported by Jane Mathews AO and Diana Concert 2 Dapper's Delight is supported by Lyndall Hatch & Robin Gibson Carmody Concert 3 Roger Woodward I is supported by Margaret & John Saboisky Stephanie Arnold is supported by Julian Burnside AO QC Concert 4 Four Seasons is supported by Peronelle & Jim Windeyer Ned McGowan is supported by Vicki Moss Concert 5 Bach on Sunday is supported by Marjorie Lindenmayer James Wannan is supported by Margaret & Peter Janssens Concert 6 Enoch Arden is supported by Harriet Elvin & Tony Hedley AM Cecilia Bernardini is supported by Catherine Hawkins & David Windsor Concert 7 Classic Souvenir is supported by Koula Notaras, Jenny & Emmanuel Notaras Orava Quartet is supported by Carolyn Philpot Concert 8 From the Letter to the Law is supported by Andrew Blanckensee, in memory of Bach Akademie Australia is supported by Christine Goode Anne & Alan Blanckensee, music lovers Daniel Yeadon is supported by Judith Healy Concert 9 Israel in Egypt is supported by Peronelle & Jim Windeyer Tobias Cole is supported by Peronelle & Jim Windeyer Concert 11 Roger Woodward II is supported by Dianne Anderson & Brian Anderson AC I Bassifondi is supported by Margot Woods & Arn Sprogis Concert 12 Glass Games is supported by Anonymous Luminescence Chamber Singers are supported by Pro Musica Members Concert 14 Orava Quartet is supported by Marjorie Lindenmayer Roland Peelman is supported by Anna & Bob Prosser Concert 17 A Soldier's Return is supported by Gail Ford 2018 Commission Fund Supporters (Matched Giving) Concert 18 I Bassifondi is supported by Margot Woods & Arn Sprogis Mary Finsterer Four Interludes Concert 19 The Trout is supported by Margaret Frey and Anonymous We would like to thank Margaret & Peter Janssens and Margaret & John Saboisky for so Concert 20 Beowulf is supported by Susan & David Chessell generously providing the matched funding for this commission. Concert 21 Peter and the Wolf is supported by Marjorie Lindenmayer Anonymous (4) Claudia Hyles Concert 22 The Art of Speech is supported by Anonymous Jennie Cameron Betty Meehan Concert 23 Festival Finale is supported by Mrs Marlena Jeffrey & Elizabeth Clark Lillian & Govert Mellink Major General Michael Jeffery AC AO (Mil) CVO MC (Retd) Bev Clarke & Graham Chalker Helen Moore Commission supporters Marie de Lepervanche Prue Neidorf

Brenda Gifford's commission is supported anonymously Jenny Dobbin Anna & Bob Prosser Jodie Blackshaw's commission is supported anonymously Catherine Hawkins & David Windsor Ann & Roger Smith Ben Drury's commission is supported by Margot Woods & Arn Sprogis Barry Hindess Andrew Fysh OAM Holly Harrison's commission is supported by Penny Le Couteur & Greg Dickson Instrument Fund Supporter The 2018 Beaver Blaze is supported by Betty Beaver AM Margaret Frey Mary Finsterer's commission Ignis is supported by Rae Frances & Bruce Scates Mary Finsterer's commission Four Interludes is supported by the Australia Council of the Arts and the 2018 Commission Fund We would like to thank Ralph Lane OAM for so generously providing the time to record the 2018 Canberra International Music Festival

110 111 Thank You Our vision is for the Canberra International Music Festival to be recognised as Australia’s OUR PARTNERS The Festival is proud to work with a number of partners both in government and in the private sector. These leading art music festival, an event that makes an important contribution to the vibrancy and partnerships are crucial to the Festival's ongoing sucess, and we proudly acknowledge their support. creativity of our national capital. On behalf of the Board and staff of Pro Musica I would like to extend our gratitude to all those PRINCIPAL GOVERNMENT PARTNERS individuals, local businesses and sponsors, for sharing our vision for the Festival, and so generously supporting us in 2018. The financial, in-kind and volunteer contributions we receive represent a significant proportion of the resources required to present the Festival each year. The remarkable level of support from our festival community has been instrumental in sustaining the Festival’s growth, from small concerts held in private homes, to what is now an MAJOR PARTNERS event of national significance. We thank you for being part of our festival family and sharing the journey with us. We are very much looking forward to 2019 and celebrating our 25th anniversary with you all. We would also like to acknowledge the strong support we receive from the ACT Government, the Australia Council for the Arts, and our business, media and venue partners. Our Artistic Director, Roland Peelman, has created another exceptional musical experience for 2018 which we hope you enjoy. CULTURAL PARTNERS Bev Clarke President Pro Musica Support our Festival by becoming a member

You can support the Canberra International Music Festival by becoming a member of Pro Musica Inc, a not-for-profit organisation that delivers 10 days of world class music at its annual festival.

Join now and enjoy members’ exclusive benefits: • Membership until 31 December 2019 • 15% discount on all Shaw Vineyard Estate wines • Members-only newsletters FESTIVAL PARTNERS • Voting rights at the Annual General Meeting • Priority booking period for 2019 Festival (available in November 2018) • Concession price on Festival Pass and single tickets for the 2019 Festival • Invitations to special events and discounts on performances throughout the year

Membership fees per annum are $50 ($25 per student)

Interested? FESTIVAL SUPPORTERS Visit us at cimf.org.au, click on the Become a Member button and follow 3-12 MAY 2019 the links.

All information in this program is correct at the time of publishing. The Artistic Director reserves the right to make changes, alter, amend or delete sections of the scheduled program without notification. Copyright Pro Musica Inc. 2018 112 Fresh from the tap

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