Camerata – Queensland’s Chamber Orchestra and QPAC present LANDSCAPES Program Lennox Berkeley Serenade for Strings, Op.12 I. Vivace II. Andantino III. Allegro Moderato IV. Lento Joaquín Rodrigo Dos miniaturas andaluzas I. Preludio II. Danza John Rodgers* Hear Me, and Remember (a lament for voice and ensemble featuring Emily Wurramara, vocals) Selections from Apollon Musagète I. Prologue: The Birth of Apollo (on Delos) II. Tableaux II: Pas de deux (Apollo and Terpsichord) III. Tableaux: Coda IV. Apotheosis: Leading the Three Muses to Parnassus Nikos Skalkottas Five Greek Dances I. Epirotikos II Kretikos III. Tsamikos IV. Arkadikos V. Kleftikos Paul Stanhope* Dancing on Clouds Emily Wurramara* Ngarrikwujeyinama (I’m Hurting) Peter Sculthorpe* Estatico from Sonata for Strings No.3 (Jabiru Dreaming) Emily Wurramara* Ementha-Papaguneray (Turtle Song)

* = Australian Composer

We’d love to meet you after the concert. Please join us in the foyer – we’ll be there as soon as we can!

7pm Wednesday 28 July, 2021 7pm Thursday 29 July, 2021 Empire Church Theatre (Toowoomba) Concert Hall, QPAC (Brisbane) ABOUT THE music Lennox Berkeley Joaquín Rodrigo (1903-1989) (1901-1999) Serenade for Strings, Op.12 Dos miniaturas andaluzas String musicians sometimes talk of ‘the These two miniatures by the highly English string sound’, an orchestral string regarded and blind composer, Joaquín style or musical landscape that is sweet, Rodrigo were written in 1929, yet did not expressive, warm and lustrous. Berkeley’s receive a premiere until November 1999, Serenade for Strings, that demonstrates barely six months after the composer’s love for and an understanding of such death at the age of 97. He is best string writing, serves as a vehicle for remembered for his two concertos for projecting that “soundworld”. The guitar, the Concierto de Aranjuez and Serenade was composed at the beautiful Fantasia para un gentilhombre the flavour Snape Maltings, where he was living with and style of which are certainly reflected in 1938-39 and by the here in these depictions of Andalucia. time of its completion, England was at war and the music seems to reflect the composer’s anxious mood as the world faced an uncertain future. This is not apparent in the first three movements - a light-hearted Vivace, a graceful Andantino and a boisterous, Beethoven- type Scherzo that includes an amusing ‘col legno’ (upper strings playing with the wood of the bow instead of the hair). It’s in the final movement where the sense of impending doom is apparent, a Lento (slow) chorale movement where the real emotional depth and pathos of the work resides. Peter Dickinson, in his study of the composer, remarks that the music of this movement seems to “reflect the composer’s anxious mood as the world faced an uncertain future” (though evidently the composer felt that must have happened subconsciously). John Rodgers (b.1962) Here Me, and Remember Queensland-born John Rodgers has cabaret legend Agnes Bernelle.” Rodgers been described as a prolific and eclectic has performed with a number of artists composer, arranger and improviser… both on recordings and live including his work spanning classical, jazz, pop, William Barton, Kate Miller-Heidke and at world, experimental and improvisational the Resonance Festival (2012) where he music. He had an early background in composed and performed Hear me, and classical music, leading the Queensland Remember, a song of lament based on and Australian Youth Orchestras and later the baroque ‘follia’ figure. playing with the Queensland Theatre and Hunter Orchestras, touring with these and other groups to Europe and Asia, Here Me, and Remember and often appearing as a soloist on violin. In the fire I burn Rodgers ultimately chose not to follow the Parched and hot, my skin it’s so dry path to a career in classical music, instead can you hear in my song? forming controversial sex-and-death cult Brave men are weeping A woman is grieving rock band Madam Bones Brothel with Rising up in lamentation Pearly Black, and together they released From my soul can you hear me? a CD Family of Abjects in 1994. He later Hear me and remember played improvised music in ensembles At the end of passion such as The John Rodgers Trio and At the end of suffering for you lived and you died Artisan’s Workshop early 1990s. He has All shame disperses cruel blows been a contributor to the Australian Art and curses Orchestra and was its Associate Artistic You are gone today, forever Director in 2005, and he has worked with Passing through the golden gate the New York performance artist Penny Go down Jerusalem Ah Rising up in lamentation Arcade (Vienna Festival 1997), the Robyn From my soul can you hear me? Archer band and many of Australia’s Hear me and remember? leading musicians and artists. Rodgers has performed solo concerts in the Adelaide Festival and the Melbourne Summer Music Festival, and produced many works in fields including music theatre and new media. He has performed and recorded with the Antipodean Collective over a number of years and in 2012 performed at the Powerhouse in Dangling my Tootsies - a show featuring the “songs and sites of ABOUT THE music Igor Stravinsky (1882-1971) Selections from Apollon Musagète In 1927 the Library of Congress of Apollo’, Stravinsky wrote years later, commissioned Stravinsky to write a work ‘is versification, which implies something for small orchestra, featuring four lead arbitrary and artificial to most people, dancers, and lasting less than half an though to me art is arbitrary and must be hour (part of a festival of contemporary artificial’. Apollo’s music made a decisive music sponsored by Mrs Elizabeth impression on the musically trained Sprague Coolidge). Adolf Bolm produced, choreographer Balanchine, who recalled choreographed and danced the role that ‘in its discipline and restraint, in its of Apollo at the Washington premiere sustained sureness of tone and feeling the on April 27 1928. On June 12 Diaghilev score was a revelation...the turning point produced his version in the Théâtre Sarah of my life’. Balanchine’s visual image for Bernhardt in Paris, with Serge Lifar as much of Apollo was ‘white’ music, even Apollo and choreography by the 24-year- ‘white-on-white’. Apollo is an attempt by old George Balanchine. Balanchine’s Stravinsky, perhaps his first, to compose ideas, according to Stravinsky, exactly a large-scale work in which contrasts of matched his own conception of a Greek volumes – dynamics and the number of myth interpreted by ‘classical’ dancing. players on each part – replace contrasts of The costumes and sets were less to instrumental colours. Debts to composers Stravinsky’s satisfaction; Diaghilev chose of the past have been found in this music André Bauchant, ‘a provincial painter’, – from Lully to Tchaikovsky and Delibes – wrote Stravinsky, ‘who in his remote but ‘sterilised’, according to Roman Vlad, village, indulged in a genre of painting and emptied of their original significance. somewhat in the style of Le Douanier © David Garrett. Rousseau. What he produced was Reprinted by permission of Symphony Services Australia. interesting, but, as I had expected, it in no way suited my ideas’. Diaghilev had been afraid of the extreme simplicity of Stravinsky’s idea, that Apollo be ‘danced in short white ballet skirts in a severely conventionalised theatrical landscape’. The period to which Stravinsky alludes in the music of Apollo is that of the operas and ballets of Lully, at the Court of Louis XIV, the Sun King (Apollo). Stravinsky had recently discovered the 17th-century poetry of Boileau, and particularly the Art poétique, in which Boileau laid down rules for versification. ‘The real subject NIKOS SKALKOTTAS PAUL STANHOPE (1904-1949) (b.1969) Five Greek Dances Dancing on Clouds

Nikos Skalkottas was a Greek composer Paul Stanhope is a Senior Lecturer th of the 20 Century who was a member of in Composition at the Sydney the Second Viennese school of composers Conservatorium of Music, The University (composers that wrote in 12-note of Sydney. Dancing on Clouds was style) but who drew influences from both commissioned by the Hush Foundation for classical music and Greek traditions. Some its Volume 18 CD, performed by the ACO say that in his avid collecting of Greek folk Collective. The piece followed a residency and dance music he did for Greece what at the Westmead Children’s Hospital Bartok did for Hungary. The Greek Dances School. Paul says, In this environment I are part of a series of 36 Greek dances was impressed by the resilience of the that Skalkottas composed during 1934- young patients and how many used 36, originally for symphony orchestra. their imaginations to cope with stressful He arranged groups of these for various situations; in this context, music was instruments upon request, such as string important to all. They suggested an orchestra, string quartet, and violin and energetic and optimistic musical response piano. The titles here refer to dances from as being the most useful to them. The different localities in Greece. image in the title of the piece suggests a flight of fancy into the heavens, escaping our mortal burdens to a place where anything might be possible, even dancing on clouds. The music begins with gentle pulses and melodic contours before launching into a series of more overtly rhythmic episodes. After a short soloistic section where the music comes to a brief stand-still, playful pizzicati hint at a tip- toe dance, building eventually to a larger, energetic musical climax and a brief coda which re-introduces the gentle pulses of the opening. The music ends in a series of cloud-like puffs suggested by soft, high string harmonics. ABOUT THE music EMILY WURRAMARA PETER SCULTHORPE Ngarrikwujeyinama (1929-2014) (I'm Hurting) Estatico from Sonata for Strings No.3 (Jabiru Dreaming)

Sung in her first language Anindilyakwa, On Jabiru Dreaming Australia’s best Ngarrikwujeyinama means ‘I’m hurting’. known composer, Peter Sculthorpe wrote: Personally referred to as ‘The Seabed Following a visit to Kakadu National Park Mining Song’, in Emily’s words, This song in 1989, the Indigenous music of northern was written in response to the mining Australia, together with those of Torres on Groote Eylandt, and in particular the Strait and Indonesia, began to fuse in my battle fought by the community, which mind. I have since written a number of saw the NT government place a total ban works in which these musics have been on seabed mining around Groote Eylandt incorporated into my musical language. in 2013, respecting the concerns of My String Quartet No 11 is one of these traditional owners about the destruction works, and the Third Sonata for Strings of the seabed and cultural song lines. I’m is based upon it. The second movement, passionate about protecting this earth and marked Estatico, stems from my belief everything living on it. Ngarrikwujeyinama that Australia is one of the few places talks about how we all come from the on earth where one may honestly write sea and how it’s our duty to protect and straight-forward, happy music. While both cherish her, and the pain we cause when movements employ similar subsidiary we don’t. The song is an anthem and a material, the second movement takes an reminder to care for this beautiful country. Aboriginal chant as its point of departure. We are also caretakers of the sea. This chant was transcribed by a member of the Baudin exploratory expedition in 1802. The subtitle, Jabiru Dreaming takes Ngarrikwujeyinama its name from a rock formation in the Ngogudlangwa National park. This rock is regarded as enena Angalya sacred, but there is nothing forbidding (We all belong to this land) about it: on the contrary, it seems to Ngogudlangwa beckon and welcome. memena makarda (We all belong to this sea)

Ngarrekwujenama nganyang arndirra (My heart is hurting)

Ena angalya (This is my home) Merrowiya Mena (this land is bleeding) EMILY WURRAMARA Ementha-Papaguneray (Turtle Song)

This is a two part lullaby, the first is yimenda meaning turtle in Anindilyakwa and the second is papaguneray which is a hand clapping game.

Ementha, Yunguba, nungulangwa enemumuwa Little turtle where are your eggs? Papaguneray, suray, suray, salamana atthathaniya, whoa papaguneray Mijelya Munja, ngarrermarkenuma, ngerremebenuma papaguneray, ogwa ementha, eh, yo, murruba Papaguneray, suray, suray, salamana atthathaniya, whoa papaguneray ementha…yunguba..nungulangwa enumumuwa ABOUT THE ARTIST EMILY WURRAMARA Originally from Groote Eylandt in the Northern Territory, growing up Emily loved hearing her uncles sing, but also realised that women from her community rarely sang in public. Wanting to inspire and empower members of her community, especially young Indigenous women, to find their voice, Emily embarked on a musical journey that has touched the hearts and minds of audiences across Australia and internationally.

Emily’s debut album received an ARIA nomination and AIR award for Best Blues and Roots Album. She is a six time Queensland Music Award winner and has toured extensively across Australia, Canada and Ireland.

Camerata, QPAC AND BRISBANE FESTIVAL present THE CONFERENCE OF THE BIRDS

7pm FRIDAY 10 SEPTEMBER Concert Hall QPAC 7pm SATURDAY 18 SEPTEMBER ARMITAGE Theatre

Government Partner Tour & Capacity Partner Major Program Partner Program Partners

Camerata is supported by the Queensland Government through Arts Queensland. Camerata is a Company-in-Residence at the Queensland Performing Arts Centre Our Generous Supporters

TRUST & FOUNDATION SILVER DONORS SUPPORTERS $5,000 - $9,999 UP TO $999 SUPPORTERS Julieanne Alroe Austin Adams Tim Fairfax Family Foundation Libby Anstis & Neil Hampton Gillian Agerholm Siganto Foundation Nick Beaton & Dr Pamela Greet Desley Agnoletto Trevor & Judith St Baker Jennie & Tony Bond Douglas Alcorn Family Foundation Betty Byrne Henderson Judith Anderson OAM Valmay Hill & Russell Mitchell Vonette Anstis LEGACY CIRCLE David and Loraine McLaren Sharon Baird Elizabeth Morgan AM Brendan Joyce Geoffrey Beames Meredith Page Dagmar Parsons Mark Blinks Katherine Trent Michael Smith & Janet Crews Jonathan Blocksidge Anonymous (1) David Starr Diana Bothams Bruce & Jocelyn Wolfe Moira Boyle Sarah Bradley PLATINUM DONORS Georgina Brindley BRONZE DONORS Douglas Brown $50,000+ $1,000 - $4,999 John Burden Philip Bacon AM Robert Alexander Carolyn Butler-White Di Jameson Toni Baker Gayle Callahan Trevor & Judith St Baker Lance Bartholomeusz Robyn Campbell Family Foundation Lee Beanland Robert & Chris Camping Betty Beath & David Cox Kevin Carew GOLD DONORS Denise Bond & George Booker W R & H Castles Michelle Boyd Janelle Christofis $10,000 - $49,999 Mr P F Clarke & John Allpass Elizabeth Clark Mrs A H Clarke OAM Brian Bartley Jennifer Clarke Troy & Karelia Gianduzzo Claire Booth & Brian Clarkson Eddy Garcia-Grant Peter Tissot-Daguette Susan Clelland Jenny Hodgson Christine Bridges-Taylor Elaine Coates Samantha Jorgensen Lynette Denny AM Jane Coombs Sabina Langendan Barbara Duhig Karen & Tim Corkeron Sandra McCullagh Michael Kenny & David Gibson Diane Cousineau David & Loraine McLaren Noela L'Estrange Veronica D'Arcy The Honorable Justice Debra Stephanie Manger & David Margaret de Wit Mullins AO Hamlyn-Harris Joanne Ellis Eileen Munro John & Natalia Martin Kate Eltham Michael & Sandra Otago Elizabeth Morgan AM Donna Fahey Ellena Papas Ben & Fiona Poschelk Marie Finn Diana Peterson Bill Watts AM & Lindsay Watts Maureen Finnane Katherine Philp Anonymous (1) Ruth Gabriel Naomi Price Joe Gehrke Else Shepherd AM Maggie Goodfellow Helen Stahmann Julie Guy Dr Josie Sundin Helen Haswell Katherine Trent & Paul Reed Peter Hill Dr ESally & Gregory Vickery Nicole Horin Anonymous (2) Bronwen Howson Anne-Marie Hunter Monica Sibbick Ken Imison Rebecca Sibbick Bev & Alan Jennings Louise Simmons Kerryn Joyce Elizabeth Smith Barry Keane Wyverne Smith Annette Kerwitz Mike Spiller Diana Khursandi Min Jin Sung Stephen & Kylie King William Swann The Honourable Justice John Dr Anne Tanner Logan RFD Sandra Taylor Angela & Alex Loh Adam Tucker Andrew Lumsden Lyn & Aub Tucker John Markwell Hilary Uhr Pierina Masatto Eduarda van Klinken Rachel Matthews Louise Vincent Bill McCarthy Mengzhu Wang Victoria McLachlan John Wainwright Margaret McNamara Ian Wilkey Len & Wendy McPherson Brian Wilson Susie Miller Jenny Woodward Robyn Mills Margaret Woolcock Anne-Maree Moon Anonymous (1) John Morris Ken Morrissey Margaret Morrissey Beryce Ron Nix Geoff Norton Jean Nuttall Therese O'Brien Margaret O'Mara Dani O'Neill Sue Park Emma-Kay Price Nicola Pringle Gillian Pauli Margaret Robinson Mary Rose-Miller Peter Rubie Angela Ryan Delyse Ryan John Ryan Margaret Scott Georgie Sedgwick Elaine Seeto

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Camerata operates in line with the various venues in which we perform. These venues operate under State Government approved Covid-Safe Plans which align with Camerata’s own plan, formed under the direction of Queensland Health, ensuring the health and safety not only of our players, but of our valued audience.

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Wear Stay Home A Mask When Sick Camerata Musicians PRODUCTION Violin Brendan Joyce* Lighting Designer Jonny Ng* Richard “Zak” Harrison Tiana Angus Event Manager, QPAC David Dalseno** Chris Horn Sally-Ann Djachenko Anne Horton Associate Producer, QPAC Daniel Kowalik** Breanna Williams Jason Tong Allana Wales Stage Manager Helena Wang Noah Sherwood Viola Thomas Chawner * ** Staging Technician Alice Buckingham Heath Reid Anna Colville Lighting Technician Elizabeth Lawrence Cameron Ricketts Cello Katherine Philp* Lighting Desk Operator Karol Kowalik* ** Lauren Sallaway Shannon Tobin Sound Technician Double Bass Marian Heckenberg* Raul Asin Gutierrez Sound Desk operator John McLennan

* = principal ** = member of Orava Quartet PARTNERS Government Partner Tour & Capacity Partner Major Program Partner

Camerata is supported by the Queensland Camerata is a Company-in-Residence at Government through Arts Queensland. the Queensland Performing Arts Centre

Program Partners

Media Partner

Production Partners

Company

Founder Elizabeth Morgan AM

Patrons His Excellency the Honourable Paul de Jersey AC, Governor of Queensland The Honourable Susan Kiefel AC, Chief Justice of Australia Dr Brett Dean

Board Brian Bartley (Chairman), Libby Anstis (Deputy Chair), Niciola White (Hon. Treasurer), Ben Poschelk (Hon. Secretary) Dr Pamela Greet, Susan Bryant, Jenny Hodgson, Hayley Linthwaite, Anne-Maree Moon and Joseph Kelly.

Staff Brendan Joyce (Artistic Director), Michael Sterzinger (Executive Director), Angela Loh (Managing Producer), Sonia Riggs (Producer), Jonny Ng (Education Manager), Jason Tong (Rehearsal Manager), Kate Harbison (Librarian)

Artistic Associates Tiana Angus, Alice Buckingham, Anna Colville, Sally-Ann Djachenko, Anne Horton, Brendan Joyce, Marian Heckenberg, Elizabeth Lawrence, Jonny Ng, Katherine Philp, Nathan Smith, Shannon Tobin, Jason Tong, Allana Wales, Helena Wang Artists-in-Residence Orava Quartet: Daniel Kowalik, David Dalseno, Thomas Chawner, Karol Kowalik

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Camerata recognises that we work and create on the lands of the Yuggera and Turrbal people in the area given the name Kurilpa or place of the water rat. We acknowledge the Traditional Owners and First Peoples of the places where we perform. We acknowledge that First Peoples are the first artists, storytellers, performers and creatives of these lands. We pay our deep respects to Elders past and present. QUEENSLAND PERFORMING ARTS CENTRE PO Box 3567, South Bank, Queensland 4101 T: (07) 3840 7444 W: qpac.com.au

Chair Professor Peter Coaldrake AO

Deputy Chair Leigh Tabrett PSM

Trust Members Dr Sally Pitkin AO Dare Power Georgina Richters Susan Rix AM Leanne de Souza

Executive Staff Chief Executive: John Kotzas AM Executive Director – Stakeholder Engagement Strategy: Jackie Branch Executive Director – Visitation: Roxanne Hopkins Executive Director – Venue Infrastructure and Production Services: Bill Jessop Executive Director – Business Performance: Kieron Roost

ACKNOWLEDGMENT The Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland Government

The Honourable Leeanne Enoch MP: Minister for Communities and Housing, Minister for Digital Economy and Minister for the Arts

Director-General, Department of Communities and Housing and Digital Economy: Ms Clare O’Connor

QPAC respectfully acknowledges the Traditional Owners of the Lands across Queensland and pays respect to their ancestors who came before them and to Elders past, present and emerging.

Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

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