Concert Calendar See page

1 Beethoven I 1 pm Friday May 1 Fitters’ Workshop 6

2 Beethoven II 3.30 pm Friday May 1 Fitters’ Workshop 6

3 Bach’s Universe 8 pm Friday May 1 Fitters’ Workshop 16

4 Beethoven III 10 am Saturday May 2 Fitters’ Workshop 7

5 Beethoven IV 2 pm Saturday May 2 Fitters’ Workshop 7

6 Beethoven V 5.30 pm Saturday May 2 Fitters’ Workshop 8

7 Bach on Sunday 11 am Sunday May 3 Fitters’ Workshop 18

8 Beethoven VI 2 pm Sunday May 3 Fitters’ Workshop 9

9 Beethoven VII 5 pm Sunday May 3 Fitters’ Workshop 9

Sounds on Site I: 10 Midday Monday May 4 Turkish Embassy 20 Lamentations for a Soldier

11 Silver-Garburg Piano Duo 6 pm Monday May 4 Fitters’ Workshop 24

Sounds on Site II: 12 Midday Tuesday May 5 Mt Stromlo 26 Space Exploration

13 Russian Masters 6 pm Tuesday May 5 Fitters’ Workshop 28

Sounds on Site III: 14 Midday Wednesday May 6 Shine Dome 30 String Theory

15 Order of the Virtues 6 pm Wednesday May 6 Fitters’ Workshop 32

Sounds on Site IV: Australian National 16 Midday Thursday May 7 34 Forest Music Botanic Gardens

17 Brahms at Twilight 6 pm Thursday May 7 Fitters’ Workshop 36

Sounds on Site V: NLA – Reconciliation 18 Midday Friday May 8 38 From the Letter to the Law Place – High Court Barbara Blackman’s Festival National Gallery: 19 3.30 pm Friday May 8 40 Blessing: Being and Time Fairfax Theatre

20 Movers and Shakers 3 pm Saturday May 9 Fitters’ Workshop 44

21 Double Quartet 8 pm Saturday May 9 Fitters’ Workshop 46

Sebastian the Fox and Canberra Girls’ Grammar 22 11 am Sunday May 10 48 Other Animals Senior School Hall National Gallery: 23 A World of Glass 1 pm Sunday May 10 50 Gandel Hall

24 Festival Closure 7 pm Sunday May 10 Fitters’ Workshop 52

1 Chief Minister’s message Festival President’s Message Welcome to the 21st There is nothing quite like the Canberra International Music sense of anticipation, before Festival: 10 days, 24 concerts the first note is played, for the and some of the finest music delights and surprises that will Canberrans will hear this unfold over the 10 days of the Festival. year. Not only is this my first year Under the leadership of its as President of Pro Musica, new Artistic Director, Roland taking over from our supremely committed last Peelman, the 2015 Festival has a program that President, Dorothy Danta: it is also the first year ranges across the centuries, from Hildegard for our new Artistic Director, Roland Peelman. of Bingen to Deborah Conway. For lovers With the invaluable support of our General of the classical canon, it will provide a rare Manager Kathleen Grant, Roland has produced pleasure: the complete cycle of Beethoven’s a program continuing the traditions built up by piano sonatas, as well as three Bach cantatas, our previous artistic directors, as well as striking chamber music by Brahms, and a program from out in new and exciting directions. the Russia of 1915. The CIMF prides itself on being a festival which Taking its inspiration from the centenary of truly reflects the national capital and its ideals. Einstein’s General Theory of Relativity, this Thus, the 2015 Festival draws its inspiration year’s Festival celebrates the links between from the connections between music and science, with their shared ambition for pursuing music and science. It will visit several of truth, the one in knowledge, the other in art. Canberra’s leading scientific institutions, and will feature the music of Australia’s most This festival has two other main features. The enterprising composers and performers. first is the number of new works specially commissioned for the Festival, and supporting Canberra is delighted to extend a welcome the ongoing development of Australian music. to the first-class international musicians The second is our deep commitment to young participating in the Festival, and to the many performers, and to integrating them in rehearsals young musicians from across the country and performances with more experienced and overseas who will join the seasoned musicians. Watch out for these young artists professionals on the Festival stages - not least during the Festival concerts: you will be seeing the remarkable Moorambilla Voices. and hearing the stars of the future. I encourage Canberrans and visitors to this city I wish to express Pro Musica’s deepest thanks to to make the most of the many musical delights our sponsors and supporters across government on offer, and wish everyone involved all the and the corporate sector, and particularly to the large number of individuals who have best for the 2015 Canberra International Music contributed finance and resources. In addition Festival. I wish to pay tribute to the large number of volunteers and billeters who have committed Andrew Barr MLA their time and their hospitality to the Festival. ACT Chief Minister Without this level of community commitment the Festival could not go ahead. So, like you, I will sit back, take in a deep breath, and enjoy the 10 days of music making ahead of us.

Arn Sprogis President, Pro Musica, Inc.

2 Artistic Director’s Message Whether we like it or not, Canberra is a city of government and governance. But equally, Canberra is a city of knowledge, a city of science and serious fact- seeking, whether on terra firmaor in the depths of outer space. Canberra is also a place where the nation keeps its treasures, its bank accounts, its jewels, its books, archives and artworks, an enviable wealth of relatively recent history. Barely one hundred years old, she bears the imprint of Burley-Griffin’s vision combined with the presence of a strong international community and a sense of duty, service and scholarship amongst its citizens. The result remains a work in process, but Canberra strikes me as an a-typically modern city that has proven remarkably resilient, given its proximity to the political epicentre and the inevitable ebbs and flows of the electoral cycle.

But none of this would mean anything if we could not stand back and admire the sunset, or wonder at those mountain peaks around Canberra. They remind us of an ancient land with a history that looms much larger than our mere century-old construct. All the things we have built and achieved would mean nothing if we did not have the time or space to think beyond that which meets the eye – if it weren’t for our ability to listen and to imagine.

This Festival carries music in its heart. Unashamedly it celebrates the great Western classical tradition, not just because we love it, or because so many great musicians have a past or current association with Canberra’s School of Music. We have a Music Festival because the way we enjoy and make music remains one of the most potent, even wilful steps in the march of history. Its central tenet is the ability to create something out of nothing, and in doing so to explore uncharted territory.

Hence Albert Einstein’s thoughtful frown and rigorously unkempt mane of hair gracing our posters this year. During his formative years leading up to the 1915 publication of the General Theory of Relativity, he saw more than any of his learned contemporaries did. Even amidst the ravages of war he still could imagine a greater world – a more peaceful world. Einstein too was a musician.

Roland Peelman Artistic Director 2015 Canberra International Music Festival

3 Beethoven and the Piano Sonatas court musicians. Thus, even before travelling to Vienna, Beethoven was able to gain a considerable knowledge and mastery of the principles of composing in what we now call ‘sonata form’, a sophisticated way of constructing large-scale musical forms through the rhetorical coordination of melody and rhythm grounded in musical tonality – a sense of home ‘key’.

Beethoven’s first piano sonatas, juvenilia for which the composer did not give an ‘opus number’, date from this time. His self-conscious coming-of-age as a composer would only hatever views we might hold about the begin in earnest when he travelled to Vienna in Wongoing significance of classical music 1792. The court in Bonn sponsored him to go in, and for, Australian society, we need have no there, as one patron famously put it, ‘to receive doubt about that of Ludwig van Beethoven (1770- Mozart’s spirit from Haydn’s hands’; in the end 1827). He is one of the few composers whose he would not so much absorb their influences as completely transform them. In Vienna Beethoven image, basic biography and of course music is also began a career as a virtuoso pianist and widely known far beyond the concert hall. For brilliant improviser, and from 1795 his published classical musicians and music lovers alike, his compositions attracted increasingly favorable standing is colossal. If all Western Philosophy attention – among them his first ‘official’ piano is a footnote to Plato, all classical music since sonatas, the two that make up his Opus 2, both c.1800 is a footnote to Beethoven. To understand dedicated to Haydn. the reasons for this, we must consider both the music itself and the world that surrounded it. One way to understand how Beethoven’s composition developed from these two sonatas Unlike his older contemporaries, Mozart and across the 30 sonatas that followed is to map Haydn, Beethoven was a child of the French them onto the traditional ‘three periods’ division Revolution, and in the midst of those best and used both by scholars and biographers. This worst of times it was Beethoven first and foremost is, of course, a simplification: changes in his who instinctively heard how music could act compositional style appeared gradually, and in as a mediator between the artist and the world many respects the ‘periods’ overlapped. at large, far beyond the aristocratic salon. The more courteous musical forms of his forbears – The ‘First Period’, roughly from 1795 to 1801, the symphony, the string quartet, and the piano includes the first 11 piano sonatas. It corresponds sonata – would never be composed the same with these first years in Vienna, and shows the way again. But, just as significantly, they would direct influence of Haydn in their taut motives never be heard the same way again. and often humorous character, and of Mozart in their lyricism. We can also hear an engagement Beethoven was born in the Rhine city of Bonn with the ‘sensitive style’ of Carl Philipp Emanuel in 1770. Like Mozart, he was a child prodigy, Bach, most obvious in the slow movements of but unlike Mozart his musical training was to these sonatas, alongside features that would soon be irregular and sparse. His aristocratic patron, mark his music as starkly original: the greatly the Elector at Bonn was, however, a great extended development (middle) and coda (final) admirer of Mozart, and saw to it that Mozart’s sections, and an emerging ‘symphonic’ approach latest published works were available to his to writing for the keyboard.

4 The best known of the First Period sonatas, Op. 13 of Op. 31 No. 2 in D minor (‘The Tempest’) in C minor (the so-called ‘Pathétique’), displays for instance, opens like an improvised fantasia, these features in abundance. The opening slow and also includes a long passage of ‘recitative introduction melds a French baroque overture to without words’. One result of such musical a post French revolutionary symphonic drama, experimentation is that by the end of this ‘middle and then leads into music that displays, according period’ we really can no longer align this music to Barry Cooper, a ‘strength of character, depth of to the ‘classical’ style without at least some emotion, level of originality, range of sonorities, drastic qualification. and ingenuity of motivic and tonal manipulation, anticipating in many ways his style of the next The ‘Third Period’ (c.1816–1827) coincides decade’. with music that becomes rather less public and heroic in character and instead more abstract The Second Period, approximately 1801–1816, and introspective, incorporating poetic extremes is commonly known as Beethoven’s ‘heroic from the meditative to the grotesque. The period’, in part a reference to his Third Symphony, sonatas of the ‘Third Period’ (the last five sonatas, the ‘Eroica’ (1803). It can cover all the sonatas Opus 101 to Opus 111) are increasingly novel in from Opus 26 to Opus 90, and is typified by structure; they often include long sections of an works of unprecedented length and complexity, improvisatory or recitative-like character. Other and which are also often much more ‘public’ in characteristics include a penchant for variation nature. Both the third movement of Op. 26 in A form, such as we hear in the slow movement of flat and the second movement of the ‘Eroica’, Op. 106 in B-flat major (the ‘Hammerklavier’), for instance, are funeral marches that for the incorporation of lengthy passages of fugato contemporary listeners would have evoked the and contrapuntal textures (such as the finales of military music of the Napoleonic era. the ‘Hammerklavier’ and the Op. 110 in A-flat major), and the use of non-traditional movement Today we are more likely to associate such music plans, such as the two movements of the last with the drama of Beethoven’s own life. By 1802 sonata, Op. 111 in C minor. Such features help the composer knew he was going deaf, and in align these ‘late sonatas’ with a characteristic a letter written to his brothers Carl and Johann that Goethe would come to see as typical of at Heiligenstadt on 6 October 1802 he made it the late works of many great artists: a wrestling very clear that it was only his art that gave him with the reality of physical decay, mimicked in the strength to continue living. Was it, then, an apparent ‘formal’ decay, that leads to the Beethoven’s personal suffering that inspired him creation of works of art that aspire ultimately to to compose works like Op. 27 No. 2 in C sharp transcend that very condition. minor “Quasi una fantasia” (the ‘Moonlight’)? However we choose to categorise these 32 Piano Musicologists tend to be cautious about making Sonatas, however, there is no doubt that hearing such subjective connections, but they would them gives us an opportunity to gain a deep certainly agree that at the very least the formal insight into the composer’s musical Lebenslauf – ambition of the ‘Eroica’ symphony is matched by a life’s creative journey in sound. It is perhaps works like Op. 53 in C major (the ‘Waldstein’). the ultimate validation of Beethoven’s creative In the first movement of this sonata the chorale- genius that the luxury of being able to hear the like second subject is in the key of E major, a entire cycle remains – despite the vast expanses long way from the ‘home’ key of C major; a bold of time and distance that now separate us from musical experiment that shows the composer his world – so much more than a mere idle exploring new possibilities for the sonata form. distraction. They speak of, and to, our common In these ‘middle period’ sonatas, Beethoven also humanity. uses music ‘topics’ drawn from other genres, Peter Tregear including operatic recitative. The first movement

5 Friday 1 May, 1pm Fitters’ Workshop Friday 1 May, 3.30pm Fitters’ Workshop ANU School of Music and Friends of the School of Music present: CONCERT 1 CONCERT 2 BEETHOVEN a piano for life I BEETHOVEN a piano for life II

Op. 2 No. 1 in F minor Kotaro Nagano Op. 2 No. 2 in A major Andrew Leathwick† 1. Allegro 1. Allegro vivace 2. Adagio 2. Largo appassionato 3. Menuetto (Allegretto) 3. Scherzo (Allegretto) 4. Prestissimo 4. Rondo (Grazioso)

Op. 14 No. 1 in E major Arnan Wiesel Op. 49 No. 1 in G minor Daniel Pan 1. Allegro 1. Andante 2. Allegretto 2. Rondo – Allegro 3. Rondo (Allegro commodo)

Op. 54 in F major Lisa Moore Op. 31 No. 3 in E flat major Lisa Moore 1. In tempo d’un Menuetto ‘The Hunt’ 2. Allegretto 1. Allegro 2. Scherzo (Allegretto vivace) 3. Menuetto (Moderato e grazioso) Op. 78 in F sharp major Nicholas Mathew* 4. Presto con fuoco ‘Für Therese’ 1. Adagio cantabile – Allegro ma non troppo 2. Allegro vivace — INTERVAL —

— INTERVAL — Op. 49 No. 2 in G major Bernice Chua 1. Allegro ma non troppo † 2. Tempo di Menuetto Op. 81a in E flat major Alex Raineri ‘Les adieux’ 1. Das Lebewohl (Adagio – Allegro) Op. 31 No. 2 in D minor Gabi Sultana 2. Abwesenheit (Andante espressivo) ‘The Tempest’ 3. Das Wiedersehen (Vivacissimamente) 1. Largo – Allegretto 2. Adagio 3. Allegretto Op. 111 in C major Nicholas Young 1. Maestoso – Allegro con brio 2. Arietta (Adagio molto semplice e cantabile)

110’ including interval 115’ including interval

This concert is supported by This concert is supported by Marjorie Lindenmayer David Taylor

6 Saturday 2 May, 10am Fitters’ Workshop Saturday 2 May, 2pm Fitters’ Workshop Embassy of the Federal Republic of Germany Tim Benson presents: presents: CONCERT 4 CONCERT 5 BEETHOVEN a piano for life III BEETHOVEN a piano for life IV

Op. 13 in C minor Anna Goldsworthy Op. 10 No. 1 in C major Gabi Sultana ‘Pathétique’ 1. Molto allegro e con brio 1. Grave – Allegro di molto e con brio 2. Adagio molto 2. Adagio cantabile 3. Finale - Prestissimo 3. Rondo – Allegro

Op. 31 No. 1 in G major Ian Munro Op. 28 in D major Arnan Wiesel 1. Allegro vivace ‘Pastoral’ 2. Adagio grazioso 1. Allegro 3. Rondo (Allegretto) 2. Andante 3. Scherzo – Allegro vivace — INTERVAL — 4. Rondo – Allegro ma non troppo Op. 22 in B flat major Kotaro Nagano 1. Allegro con brio Op. 79 in G major Nicholas Mathew* 2. Adagio con molta espressione 1. Presto alla tedesca 3. Menuetto 2. Andante 4. Rondo - Allegretto 3. Vivace

— INTERVAL — Op. 57 in F major Maria Mazo ‘Appassionata’ Op. 101 in A major Daniel de Borah 1. Allegro assai 1. Etwas lebhaft und mit der innigsten 2. Andante con moto Empfindung (Allegretto ma non troppo) 3. Allegro ma non troppo 2. Lebhaft, marschmässig (Vivace all Marcia) 3. Langsam und sehnsuchtsvoll (Adagio ma non troppo, con affetto) 4. Zeitmass des ersten Stückes (Tempo del primo pezzo) – Geschwind, doch nicht zu sehr und mit Entschlossenheit (Allegro)

Op. 110 in A flat major Gil Garburg 1. Moderato cantabile molto expressivo 2. Allegro molto 3. Adagio ma non troppo – Fuga (Allegro ma non troppo)

110’ including interval 110’ including interval

This concert is supported by This concert is supported by Koula Notaras and Emmanual Notaras Marjorie Lindenmayer

7 Saturday 2 May, 5.30pm Fitters’ Workshop Embassy of the Federal Republic of Germany presents: CONCERT 6 BEETHOVEN a piano for life V

Op. 10 No. 2 in F major Stephanie McCallum 1. Allegro 2. Allegretto 3. Presto

Op. 14 No. 2 in G major Arnan Wiesel 1. Allegro 2. Allegretto 3. Presto

Op. 26 in A flat major Clemens Leske 1. Andante con Variazioni 2. Scherzo – Allegro molto 3. Marcia funebre sulla morte d’un Eroe 4. Allegro

— INTERVAL —

Op. 90 in E minor Anna Goldsworthy 1. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck 2. Nicht zu geschwind und sehr singbar vorgetragen

Op. 109 in E major Sivan Silver 1. Vivace, ma non troppo – Adagio expressivo – Tempo I 2. Prestissimo 3. Gesangvol, mit innigster Empfindung (Andante molto cantabile ed espressivo)

* Nicholas Mathew appears by arrangement 110’ including interval with the ANU School of Music

This concert is †Andrew Leathwick, Alex Raineri and supported by Adam McMillan appear by arrangement with the Margaret Saboisky Australian National Academy of Music (ANAM)

8 Sunday 3 May, 2pm Fitters’ Workshop Sunday 3 May, 5pm Fitters’ Workshop

CONCERT 8 CONCERT 9 BEETHOVEN a piano for life VI BEETHOVEN a piano for life VII

Op. 2 No. 3 in C major Adam McMillan† Op. 7 in E flat major Ian Munro 1. Allegro con brio ‘Grand Sonata’ 2. Adagio 1. Molto Allegro e con brio 3. Scherzo - Allegro 2. Largo, con gran espressione 4. Allegro assai 3. Allegro 4. Rondo - Poco Allegretto e grazioso

Op. 10 No. 3 in D major Clemens Leske 1. Presto Op. 27 No. 2 in C# minor Kotaro Nagano 2. Largo e mesto ‘Moonlight’ 3. Menuetto – Allegro 1. Adagio Sostenuto 4. Rondo - Allegro 2. Allegretto 3. Presto agitato — INTERVAL — — INTERVAL — Op. 27 No. 1 in E flat major Daniel de Borah ‘Sonata quasi una Fantasia’ Op. 106 in B flat major Maria Mazo 1. Andante – Allegro – Andante ‘Hammerklavier’ 2. Allegro molto e vivace 1. Allegro 3. Adagio con espressione - Allegro vivace - 2. Scherzo (Assai vivace – Presto – Presto Prestissimo – Tempo I) 3. Adagio sostenuto. Appassionato e con molto sentimento Op. 53 in C major Stephanie McCallum 4. Largo, Allegro risoluto – ‘Waldstein’ Fuga a tre voci, con alcune licenze 1. Allegro con brio 2. Introduzione (Adagio molto) 3. Rondo (Allegretto moderato – Prestissimo)

105’ including interval 110’ including interval

This concert is This concert is supported by supported by Barbara Campbell and Jennie and Barry Claudia Hyles and Cameron Mary Louise Simpson

9 Daniel de Borah Anna Goldsworthy Australian pianist Daniel Described by The Australian de Borah was a major as a ‘musical ambassador,’ prize winner at the 2004 Anna Goldsworthy is one of Sydney International Piano Australia’s most acclaimed Competition and has since and versatile musicians. She appeared as soloist with the has performed extensively as English Chamber Orchestra, a piano soloist throughout Photo: Darren James the London Mozart Players and Australia and internationally. with the Royal Philharmonic An accomplished chamber player, Anna is a Orchestra at the Barbican and Cadogan Halls, founding member of Seraphim Trio, which in London. He has given recitals at major venues 2015 celebrates its twenty-first anniversary. and festivals throughout the United Kingdom She collaborates regularly with Australia’s most including return visits to Wigmore Hall, London’s distinguished musicians, such as oboist Diana Southbank Centre, Manchester’s Bridgewater Doherty, clarinettist Paul Dean, trumpeter David Hall, St David’s Cardiff, the Brighton and Elton, soprano Jane Sheldon and the Australian Newbury Festivals. String Quartet. Anna’s literary publications Daniel has also appeared widely in Australia with include the memoirs Piano Lessons and Welcome the Sydney, Melbourne, Canberra and Adelaide to Your New Life, as well as the Quarterly Essay Symphony Orchestras, the Australian Chamber Unfinished Business. She is currently Artistic Orchestra, Melbourne Chamber Orchestra and Director of the Port Fairy Spring Music Festival, Orchestra Victoria. He has partnered many Kenneth Moore Memorial Music Scholar at leading soloists and ensembles including Li-Wei Janet Clarke Hall, and Research Fellow at the Qin (cello), Rivka Golani (viola), Kristian Winther J.M. Coetzee Centre for Creative Practice at the (violin), the Australian String Quartet, the New University of Adelaide. Zealand String Quartet, Thomas Indermühle (oboe) and Andrew Goodwin (tenor), appearing at the Canberra International Music Festival, Huntington Andrew Leathwick† Estate Music Festival and the Australian Festival of Andrew Leathwick began Chamber Music in Townsville. piano lessons at the age of In 2015 Daniel joins the Australia Piano Quartet, nine. In 2014, he completed ensemble-in-residence at the University of the requirements for a Master of Technology, Sydney. APQ performances in 2015 Music with First Class Honours include an eight-concert series at the Utzon at the University of Waikato. Room of the Sydney Opera House, a seven- While at the University, project collaborative series at UTS and a tour Andrew was the winner of many awards and to France and the UK including the quartet’s competitions, including the University of London debut at the Barbican Centre. Waikato Cultural and Arts Person of the Year Award, the University of Waikato Concerto Bernice Chua Competition, and the Sir Edmund Hillary Medal. In 2013, Andrew won the New Zealand National Concerto Competition, playing Prokofiev’s Third Piano Concerto, where he also received the junior jury prize and audience choice award. He is currently studying at the Australian National Academy of Music (ANAM) in Melbourne.

10 Clemens Leske Nicholas Mathew With a repertoire of some The British pianist and thirty-five concerti, Clemens musicologist Nicholas Mathew Leske has performed with the is Associate Professor and Sydney, Melbourne, Adelaide, Weisman Schutt Chair in Music West Australian, Tasmanian at the University of California at and Queensland symphony Berkeley, and joint leader of the orchestras and has played at piano program there. He has venues in Spain, the United Photo: Bruce Hedge always divided his musical life Kingdom, Singapore, New Zealand, Hungary and between the contrasting joys of China. In May, 2005 he gave his London Royal scholarship and performance. While a student at Festival Hall debut, performing Rachmaninoff’s Oxford University, he studied piano performance First Piano Concerto with the London concurrently at the Guildhall School of Music Philharmonic Orchestra. and Drama in London with the Romanian virtuoso Carola Grindea. His formative years as Recent appearances include performances of a musician, however, came during his graduate Strauss’ Burlesque as well as Beethoven’s Triple studies at Cornell University in New York State, Concerto with the Sydney Symphony under where he worked with the generation’s leading the baton of Vladimir Ashkenazy, and Mozart’s fortepianist Malcolm Bilson, and encountered K467 Concerto in C at the Sidney Myer Music the extraordinary range of historical keyboard Bowl and Rachmaninoff’s Third Piano Concerto, instruments that have captivated him ever since. both with the Melbourne Symphony Orchestra. He performed with the Canberra Symphony For the past decade, he has aimed to evolve the Orchestra last year with Beethoven’s Fourth Piano aims and aesthetics of what was once the “period Concerto, with conductor Niicholas Milton and instrument movement” – away from prescriptive was also invited on a national tour in partnership questions of “what was” towards an appreciation with flautist Sir James Galway. of the richness and plurality of new expressive choices that can be promoted by a knowledge of Adam McMillan† historical practices and a love of instruments in Born in Brisbane, 21 year their myriad forms. He is the author of Political old pianist Adam McMillan Beethoven and (with Benjamin Walton) The is currently studying at the Invention of Beethoven and Rossini, as well as Australian National Academy of several scholarly articles, on Beethoven, Haydn, Music (ANAM). Adam began Rossini, and the history and theory of piano playing when he was four, and performance. by age 16, Adam had performed Nicholas Mathew appears by arrangement the Bach Concerto in D minor with the ANU School of Music. with the Tagiev Chamber Orchestra in the Weill Recital Hall at Carnegie Hall. Recent performances include playing in the 4MBS Festival of Classics ‘Beethoven Marathon’, Daniel Pan performing as soloist with the Queensland Conservatorium Symphony Orchestra, and collaborating with other pianists in the Australian Piano Duo Festival. He has enjoyed performing and recording the works of emerging Australian composers, and has recorded a CD with cellist Elizabeth Hubbard that continues to raise money for the charity “HeartKids”.

11 Maria Mazo performances of Alkan have been described by Maria Mazo, already an award critics as ‘titanic’, ‘awe-inspiring’, ‘stupendous’, winner at the Van Cliburn ‘virtuosic pianism of the highest calibre’ and ‘one (USA), Honens (Canada) and of the glories of Australian pianism’. Busoni (Italy) International Stephanie appears on over 40 CDs including Piano Competitions, is 17 solo albums ranging through Liszt, Weber, the winner of the 2013 Magnard, Xenakis and premier recordings of International Beethoven Piano Alkan, Kats-Chernin and even newly transcribed Photo: Tobias Moses Competition Vienna. She also Beethoven. recently achieved great praise from audience and critics at the 2014 Arthur Rubinstein Piano Master Competition in Tel- Lisa Moore Aviv where she was awarded the Audience Prize Described as “beautiful, after performing with the Israel Philharmonic impassioned; brilliant and Orchestra conducted by Asher Fisch. searching” in The New York Times, pianist Lisa Moore has Although her repertoire ranges from Bach to collaborated with a large and the present day, Maria Mazo has always been diverse range of musicians and fascinated by Beethoven’s music, and it was her artists throughout the world, interpretations of some of his masterpieces that in venues such as La Scala, first established Maria Mazo in the international Carnegie Hall and the Musikverein. Originally concert scene. In 2004 she won the Beethoven from Canberra, Lisa has been based in New Piano Competition in Mannheim, Germany; the York City since 1985, and has performed with following year later she added to her reputation the London Sinfonietta, New York City Ballet, with a highly acclaimed performance of American Composers Orchestra, Bang on a Beethoven´s Hammerklavier Sonata at the Van Can All-Stars, Steve Reich Ensemble, Australian Cliburn International Piano Competition. Her Chamber Orchestra, Australia Ensemble, Paul next step was to win First Prize at the Beethoven Dresher Double Duo, Alpha Cantauri and Terra Competition in Vienna, one of the oldest, most Australis. Lisa’s festival guest appearances include traditional and prestigious music competitions in Crash Dublin, Uzbekistan, Lithuania, Greece, the world, in which only the works of Beethoven Graz, Tanglewood, Aspen, Huddersfield, Paris are performed. d'Automne, Lisbon, Uzbekistan, South Korea, Shanghai, Beijing, Hong Kong, BBC Proms, Stephanie McCallum Southbank, Adelaide, Canberra, Darwin, Perth, Stephanie McCallum is a piano Sydney, Israel and Warsaw. soloist known internationally As a concerto soloist Lisa has performed with for her work on the reclusive the London Sinfonietta, the Australian Chamber Romantic composer, Alkan, Orchestra, the Sydney, Tasmania and Canberra and nationally for her Symphony Orchestras, among many others, many recordings and work under the batons of conductors from Richard championing unusual, new Mills to Edo de Waart and Pierre Boulez. Photo: Bruce Hedge and Australian repertoire. Currently an Associate Professor Lisa enjoys performing the highly diverse range of Piano at Sydney Conservatorium, University of of piano repertoire found in traditional, new Sydney, Stephanie has performed internationally and experimental forms. She has premiered and in recital, as soloist with major Australian commissioned hundreds of new works, working orchestras, and with AustraLYSIS, Sydney Alpha with contemporary composers ranging from Iannis Ensemble, ELISION, Australia Ensemble, ACO, Xenakis, Elliot Carter, Peter Sculthorpe and Gerard Kammer, Halcyon and other groups. Her live solo Brophy to Elena Kats-Chernin and Martin Bresnick.

12 Ian Munro Antonin Chopin Festival, performing Chopin’s Ian Munro has emerged over Piano Concerto No.1 with Poznan Symphony recent years as one of Australia’s Orchestra. He has worked with Tokyo Symphony most distinguished and awarded Orchestra, Kaohsiung Symphony Orchestra, musicians, with a career that has Poznan Symphony Orchestra and Lomza taken him to thirty countries in Chamber Philharmonic, and has performed in Europe, Asia, North America and Tokyo, Kagoshima, Sendai, Warsaw, Krakow, Australasia. His award in 2003 Lomza, Montreal, Taipei, Kaohsiung, Sydney and of Premier Grand Prix at the Aix en Provence. Queen Elisabeth International Competition for composers (Belgium) is a unique achievement Alex Raineri† for an Australian and follows on from multiple prizes in international piano competitions in 21-year-old pianist Alex Raineri Spain, Italy, Portugal and the UK, where his is currently based in both second prize at the Leeds International Piano Melbourne and Brisbane. Competition in 1987 established his international Alex’s performance experience profile. In the UK Ian has performed with the includes tours of California, Royal Philharmonic Orchestra, Philharmonia, South-East Asia, New Zealand, English Chamber Orchestra and the BBC Scottish Germany and a numerous Symphony Orchestra. Elsewhere, he has performed recital and chamber music with orchestras in Poland, Italy, Portugal, Russia, engagements in Australia including regular the USA, China, New Zealand and all the major broadcasts on ABC Classic FM and the MBS orchestras in Australia in over sixty piano concerti. Networks. He has performed concertos with the Queensland, Tasmanian and West Australian A widely experienced chamber musician, Ian Symphony Orchestras and has had several joined the acclaimed Australia Ensemble in competition successes including first prizes in Sydney in 2000. Ian has performed concerti by the Kerikeri International Piano Competition Ravel, Munro, Mozart, Kats-Chernin, Gershwin (2014), Australian National Piano Award (2014) and Edwards, and toured to the UK, Russia, and ANAM Concerto Competition (2014). Belgium, Italy, Switzerland, Uzbekistan and throughout Australia and New Zealand in recitals, A passionate chamber musician, Alex is the chamber music and concerto performances. pianist and co-artistic director of the Brisbane contemporary music ensemble Kupka’s Piano. Other chamber music partnerships have been Kotaro Nagano with Brett Dean, Ensemble Offspring, Greta Since winning 1st prize at the Bradman, Tabatha McFadyen and Angus Wilson Taipei Chopin International Piano among others. In addition to his studies at ANAM, Competition, Kotaro Nagano has Alex is also undertaking a Doctor of Musical won several other competitions, Arts (DMA) at the Queensland Conservatorium including the Second Australian of Music (Griffith University) and is a current International Chopin Piano recipient of a Griffith University Postgraduate Competition (1st prize and Research Scholarship. Audience Prize), the International Piano Competition Halina Czerny-Stefanska In Memoriam in Poznan (2nd prize and Chopin Sivan Silver and Gil Garburg Nocturne Special Prize), the Tokyo Piano Competition – see Concert 11, p. 24 below. (1st prize) and the 16th International Chopin Piano Competition in Warsaw (diploma prize). He made his debut in the Opening Concert at the

13 Gabi Sultana Since taking up residence in Australia, he has Described as “one of our performed with the Sydney Symphony Orchestra, most promising pianists of our the Queensland Symphony Orchestra, Canberra generation” of “mammoth talent” Symphony Orchestra, the Adelaide Festival, in and “a demon of energy; yet numerous ABC Live concerts, and in the Canberra one of impeccable articulation”, Chamber Music Festival. From 2005 to 2010 he Gabi Sultana, who hails from performed the complete keyboard works of J.S. Bach the island of Malta, is a highly both on the modern piano and on the clavichord. acclaimed soloist and chamber musician. As the winner of the “Contemporary Nicholas Young Music Prize” and “Outstanding Pianist” Awards at the 2013 IBLA Grand Prize International Music With a passion for classical and Competition in Sicily, Italy, she toured the States of modern piano performance, Virginia, Arkansas and New York culminating in her Nicholas Young is emerging as debut at Carnegie Hall in May 2014. one of Australia’s most captivating and versatile musicians. After As a soloist she has also performed throughout completing his Bachelor of Europe. She is currently working with Spectra Music (Performance) at the Ensemble (BE) and together they have performed Sydney Conservatorium in 2012 at internationally renowned contemporary music with First Class Honours and a University Medal, festivals such as Transit (BE), Gaida (LT) and Ars he commenced Masters studies in Solo Piano at Musica (BE). the Universität Mozarteum Salzburg. Nicholas was Arnan Wiesel the national winner of the 8th Yamaha Australian Youth Piano Competition in 2007. This success was The Israeli born pianist Arnan followed by further important prizes including the Wiesel is a winner of national and First Prize and Best Beethoven Performance of the international prizes including 2015 ‘Grand Prize Virtuoso’ International Piano Israel’s highest prize for young Competition. musicians, the Francoix Shapira Prize. A finalist in the Sydney Nicholas has given solo and chamber Piano Competition, his career performances in Australia, New Zealand, Austria, as solo and chamber musician France, Italy and the United Kingdom, in such has taken him to Australia, USA, Europe, Asia, venues as the Sydney Opera House, Wigmore Hall New Zealand and Israel. Performances include and Mozarteum Wiener Saal. He has appeared concertos with the Stuttgart Philharmonic and as soloist with the West Australian, Queensland, the Israel Philharmonic Orchestra, and recitals in Adelaide and Willoughby Symphony Orchestras, the Concertgebouw in Amsterdam and Frankfurt as well as the Vienna International Orchestra Alte Oper, as well as appearances at festivals in in Austria, and his performances have been Germany and Israel. broadcast by ABC Classic FM.

How well do you really know your piano?

Meet the Piano Whisperer in the Music Room, Wesley Music Centre, 10.00-11.30 am, Tuesday May 5

Master piano technician Ara Vartoukian from Theme & Variations Piano Services presents a seminar on the intricacies of the piano and its tuning, with guest pianist James Huntingford.

14 Piano Sales, Tuning, Rebuilds & Restorations.

Established in 1985 by senior concert technician, Ara Vartoukian, Theme & Variations Piano Services know all things piano. Equipped with an elegant showroom and bustling workroom, we are the place to go for sales, tuning, repairs and restorations. With an expert team of passionate, dedicated and professional staff, we strive for excellence in everything we do. Call us today for all your piano needs on (02) 9958 9888. www.themeandvariations.com.au

15

theme-var-festival-prog-v2.indd 1 7/04/2015 2:52 pm Friday 1 May, 8pm Canberra Times presents: Fitters’ Workshop CONCERT 3 Gala Concert: Bach’s Universe

Johann Sebastian Bach (1685-1750) Alex Oomens soprano Partita No. 2 in D minor, BWV 1004 Festival Bach Ensemble: Steve Reich (b. 1936) Leanne Sullivan trumpet Vermont Counterpoint Matt Greco director / violin Annie Gard violin Johann Sebastian Bach Heather Lloyd viola Trio Sonata in G major, BWV 530 Rosanne Hunt cello 1. Vivace Anthony Abouhamad 2. Lento director / harpsichord 3. Allegro

Alister Spence (b. 1955) William Barton didgeridoo Time is Time Enough WP Rebecca Chan violin Johann Sebastian Bach Amy Dickson saxophone Cantata ‘Jauchzet Gott’ BWV 51 Claire Edwardes vibraphone 1. Jauchzet Gott in allen Landen Pete Harden electric guitar 2. Wir beten zu dem Tempel an 3. Höchster, mache deine Güte 4. Sei Lob und Preis mit Ehren 80’ no interval 5. Alleluja, Alleluja

Kate Moore (b. 1979) This concert is supported by The Dam (Beaver Blaze Commission) WP Betty Beaver

Bach’s Universe Soli Deo Gloria – ‘Glory only to God’: this is violent upheavals of the French Revolution, 39 how Bach would start a new piece. And God’s years after Bach’s death, opened the door to a humble servant might occasionally encrypt view of the world without a God. his name B-A-C-H into the score itself, as a theme or as a harmonic progression. It tells us Listening to Bach’s Cantata ‘Jauchzet Gott’, one something about a person’s understanding of a of his most openly jubilant compositions, one universe underpinned by the Word, wisdom and senses a genuine joy and acceptance of this creative act of a potent God figure.Throughout divine order. From the initial doubled arpeggio the 17th century, the fundamental principles to the ecstatic vocalisations of the soprano, male of order and gravity as conceived by God and and female unite according to God’s law. The articulated by Isaac Newton remained largely cantata may have as much to do with Bach’s unquestioned. The notion of ‘natural’ order then newly found domestic bliss – a lovely young became the subject of much heated discussion soprano called Anna Magdalena – as with the in the discourse of the 18th century. But only the presence of a decent trumpet player amongst

16 his Leipzig forces. The form of the trio sonata, departures. The physicality of endlessly repeated whether in instrumental chamber music or on percussion patterns and the ever so gradual the church organ, uses two equal parts also, in process of going ‘in and out of sync’ creates a state combination with the bass – a small-scale and of trance: the ear is seduced, the body liberated playful tribute to the trinitarian principle that and the mind lost somewhere along the way. pervades most Western Not surprisingly, improvising Christian music. This musicians really connected concert, however, starts with with this approach (as they did Bach’s Partita No. 2 for violin with Bach) and it triggered yet solo, four strings strung on a another wave of jazz renewal. small but exquisitely made Alister Spence, a notable instrument creating out of a Australian jazz musician, has simple chord sequence an found much joy in the cool entire universe as reflected sounds of saxophone and within a drop of water. vibraphone and in their playful interaction. Kate Moore, our It is the violin that became composer-in-residence, found Albert Einstein’s instrument her starting point in the intricate of choice. Music, and Bach constructions of American and in particular, never failed to Dutch minimalists. She too entrance him without any creates mesmerising, trance-like need for explanation, in music, but with a passion that contrast to the formulation of complex new laws perhaps wouldn’t be allowed in Dutch Protestant and equations with mathematical challenges that circles or in good New York Jewish company. remained a source of frustration throughout his life. It is widely understood that first wife Mileva, In this brave new world multiple meanings, a mathematician, contributed considerably to multiple perspectives and purposes can his early scientific papers as a mathematician. be embraced. Composers might see the Their domestic world, however, played out like physical world for what it is, explained or an increasingly discordant duet, and eventually unexplained, and search for different layers of he settled for a more conventional arrangement human complexity. Yet, within the context of with his cousin Elsa. By that stage Newton’s a monocentric world, it could be argued that comprehensible order had made way for a Bach’s unequivocal statement ‘SDG’ hides a concept of time, space, light and matter that still much greater level of complexity than his worldly defies our imagination. masters ever realised, and that his music, for all its hidden joy or veiled sorrow, evokes a much The consequences of his relativity theory more unfathomable truth than this inscription sparked new research in astronomy, physics, bio- may suggest. In the end, Einstein’s life-long quest chemistry and much more. The same elements of for a unifying theory proved as futile as Bach’s time, space, and matter also form the building ongoing tug-of-war with the local town council. blocks of music itself. During Einstein’s lifetime Great art often emerges out of the collision of the already new models of musical structure were personal and the universal. Tonight’s concert also emerging, entirely different to the inner dialogue reflects the collision of a past and a future that and outer discourse that drives Bach’s creations. Bach the Kantor may have never suspected, but Composers were now free to use hypnotically that we can now recognise in his music. Einstein, additive structures inspired by Indian music, the scientist, expressed it in very simple words: “I or African drumming patterns, or Zen devices have this to say about Bach’s works: listen, play, that redefine our expectations and perceptions love, revere – and keep your trap shut”. of sound as it unfolds. Steve Reich famously credited African drumming styles for his new Roland Peelman

17 Sunday 3 May, 11am Palace Electric presents: Fitters Workshop CONCERT 7 Bach On Sunday

Tobias Cole counter-tenor Johann Sebastian Bach (1685-1750) David Greco baritone Cantata ‘Ich habe genug’ BWV 82 1. Ich habe genug, ich habe den Heiland Alex Oomens soprano 2. Ich habe genug! Mein Trost ist nur allein Paul McMahon* tenor 3. Schlummert ein, ihr matten Augen 4. Mein Gott! wenn kömmt das schöne: Nun! Festival Bach Ensemble: 5. Ich freue mich auf meinen Tod Mikaela Oberg flute Kirsten Barry oboe Kate Moore (b. 1979) Matt Greco director / violin ‘Broken Rosary’ Annie Gard violin Johann Sebastian Bach Heather Lloyd viola Cantata ‘Schweigt stille, plaudert nicht’ Rosanne Hunt cello (‘Coffee Cantata’) BWV 211 Anthony Abouhamad 1. Schweigt stille, plaudert nicht director / harpsichord 2. Hat man nicht mit seinen Kindern 3. Du böses Kind, du loses Mädchen *by arrangement with the 4. Ei! wie schmeckt der Coffee süsse School of Music, ANU 5. Wenn du mir nicht den Coffee lässt 6. Mädchen, die von harten Sinnen 7. Nun folge, was dein Vater spricht 75’ without interval 8. Heute noch, lieber Vater, tut es doch 9. Nun geht und sucht der alte Schlendrian This concert is supported by 10. Die Katze lässt das Mausen nicht Jim and Peronelle Windeyer

MS: Cantata 'Ich habe genug' BWV 82 (1727)

18 Cantata ‘Ich habe genug’ BWV 82 Cantata ‘Schweigt stille, plaudert nicht’ (‘Coffee Cantata’) BWV 211 One of the best known and best-loved of Bach’s Although classified as a cantata, Schweigt stille, ecclesiastical cantatas, ‘Ich habe genug’ was plaudert nicht (‘Quiet! Stop chattering’), BWV composed in Leipzig in 1727 for the Feast of 211 (c. 1732), is really a mini comic opera, and Purification of Mary, also known as ‘Candlemas’, indeed in modern performances is frequently which falls on 2 February. It, and the two others presented fully staged. A rare work of secular we know for sure that Bach composed for this social commentary by Bach, it plays on a fear occasion (BWV 83, 125), share the common that some of the good Bürgers of Leipzig had theological theme of death understood as a that an addiction to coffee could have dangerous joyful release from the cares of this world, and social consequences! To that extent its subject care-laden is a good description of the affect matter feels very contemporary, not so much conveyed by the opening movement – faltering because of the current Australian (not to say strings and a plaintive oboe line – surely one of Canberran) obsession with good coffee, but in the most evocative orchestrations of all of Bach’s the way it satirises the moral panic that often works. accompanies the arrival of any new form of pleasure. A delightful final chorus observes that To understand why Candlemas would produce if most people are already drinking coffee to such music of such character we need to be aware an extent, how could a ‘respectable’ daughter that the ancient Jewish sacrament included an refuse to and indeed, why should she? act of ritual sacrifice. Thus Mary’s submission – to the law hinted at the sacrifice of her son that was to come, a connection that is made explicit in the Gospel according to Luke through its retelling of Simeon’s prophecy that her Infant Son would be ‘a light to lighten the Gentiles’ (hence ‘Candlemas’). Indeed the Catholic rite for this feast mandated the singing of the complete ‘Song of Simeon’ (or Nunc dimittis), something that is hinted at in the recitative that follows. There is a reminder here for the congregation that for all their political & theological differences – and no doubt their lingering memory of the devastation caused by the Thirty Years War – the Lutheran and Catholic musical and theological traditions in Bach’s Leipzig still shared much in common. The lullaby-like middle movement and the Here Bach, the serious church musician, proves dance-like finale (a kind of double concerto for himself as adept at applying his consummate the voice and oboe), ensure that ‘Ich habe genug’ musical skills to the dramatic demands of is ultimately to be understood as asking us not comic opera as he was with complementing so much to resign ourselves to our inescapable the theological needs of the Lutheran rite. The mortality, but celebrate its overcoming. Certainly ‘Coffee Cantata’ reminds us, indeed, of one of Bach thought highly of this cantata; he later re- music history’s greatest ‘what might have beens’ scored it for soprano instead of bass, and also – an opera from the hand of J.S. Bach that, sadly, re-used the music of the opening movement to was never to be. suit another occasion. Notes by Peter Tregear

19 Monday 4 May, Midday ACTEW presents: Turkish Embassy CONCERT 10 Sounds on Site I: Lamentations For a Soldier

Traditional ney solo: ‘Havada Bulut Yok’ (‘No cloud in the sky’) Ekrem Mülayim (b. 1981) ‘some echo still’ WP – 1 Ney solo: Tanburi Cemil Bey (1873-1916) ‘Hüseyni Oyun Havası’ Thomas Tomkins (1572 - 1656) ‘When David heard’ Ekrem Mülayim ‘some echo still’ – 2 Ney improvisation Robert White (1538-1574) ‘Lamentations’ for six voices Ney improvisation Ekrem Mülayim ‘some echo still’ – 3 Ney solo: Tanburi Cemil Bey ‘Sedd-i Araban Saz Semaisi’ Kim Cunio (b. 1969) Psalm 57 WP Ekrem Mülayim ‘some echo still’ – 4 Thomas Weelkes (1576-1623) ‘When David heard’ Ney improvisation Ekrem Mülayim ‘some echo still’ – 5 Arvo Pärt (b. 1935) ‘Da pacem Domine’ Da pacem Domine in diebus nostris Quia non est alius qui pugnet pro nobis Nisi tu Deus noster. Give peace in our time, O Lord For there is none other that fighteth for us But only Thou, our God. Pärt’s prayer for peace was composed for the victims of the 2004 Madrid train bombings. It has since become a more universal lament for all innocent victims of atrocities around the world, now and then.

The Song Company Anna Fraser soprano Hannah Fraser mezzo Richard Black tenor Owen Elsley tenor 75’ no interval Mark Donnelly baritone This concert is supported by Andrew O’Connor bass Donna Bush with Oğuz Mülayim ney

20 Rumi and the Mevlevi Order ‘some echo still’ Mevlana Celaleddin-i Rumi is a 13th century Persian- “Out beyond ideas of wrongdoing born Anatolian mystic and poet. He is known as and rightdoing there is a field Mevlana (“our master”) in the East and as Rumi I’ll meet you there” (from the land of Rum – Anatolia) in the West. When one is asked to set Rumi to music, it soon Rumi was born on September 30, 1207 in the city becomes apparent that there is something beyond of Balkh in present-day Afghanistan, where his words and meaning in his poetry. In ‘some echo father was the chief scholar. A Mongol invasion still’, I have sought to go beyond a simple setting forced the family to leave and they ended up in of Rumi’s words, and to create, for the performers 1228, in Konya (in present-day Turkey) at the and the audience, an experience that reflects his invitation of the Seljuk Emperor. secret – an effortless sense of unity within the From an early age, Rumi attended his father’s infinite variety found in creation, as manifested lessons, acquiring Turkish, Arabic, common in the meditative ritual of whirling dervishes. Greek and Classical Greek, studying other As a composer I am fascinated by the visual poetry religions along with Islam. Later on, he himself and harmony created by bodies, clad in white, in would teach hundreds of students in Madrassahs. perpetual motion while remaining perfectly still. In his books (Masnawi, Divan-i Kebir, etc.), Rumi The unity created by the individual dervishes discusses how to be a wholesome human being: spinning to their own devotional cycle while one who has inner peace and harmony, who is forming a harmonious system with many others is both aware of and appreciates God’s blessings, an analogy of the universe as perceived by Rumi. who takes a stand in the face of life’s hardships, In ‘some echo still’, each performer becomes a and is tolerant and loving. spinning sphere in cyclical rhythmic and melodic Rumi died in 1273 and was laid to rest beside his motion as part of an interconnected system. The MODEL.01 father in a mausoleum in Konya. After his death diagram below is an excerpt from the score.

Rumi’s followers established the Mevlevi Order. 01.E01 Based on adab and erkan (discipline and rules r=24 of conduct), every part of the Mevlevi lifestyle has symbolic meaning, as in the rituals of the whirling dervishes, considered an extension of daily life. Mevlevihanes are the training centres of Mevlevi dervishes. Besides intensive soul r=8 training, candidates receive schooling in literacy, music and other artistic skills. The Mevlevihanes r=9 in Istanbul have played a significant role in r=18 training master performers of Turkish music. Oğuz Mülayim The Ney or Turkish flute r=12 r=16 According to Rumi, music is the language of God. No other form of art penetrates the human soul as directly as music. In Rumi’s world, music brings God and man together. The ney is the symbol for “insan-ı kâmil”, a person who has become fully mature. The ney r=9 is like a friend who is pale and hollow, revived Expanded Rhythm Cycle of r=18 quadruple rotation (2.25x4=9 pulses) Expanded Rhythm Cycle of only by the breath of the Creator. For this reason, double rotation (4.5x2=9 pulses) the ney is called “nây-ı erîf (holy ney)”. Ekrem Mülayim

21 ‘Lamentations’ for six voices ‘When David heard’ English religious upheavals in the 16th century Thomas Tomkins and Thomas Weelkes stem prevented liturgical use of Latin texts after 1549, from the next generation of English composers. but the Lamentations (and other works in Latin) Tomkins being the more conservative of the two continued to be written. Robert White wrote two concentrated mainly on religious work, albeit extensive settings of the Jeremiah Lamentations. in the newly reformed fashion. Weelkes on the Both remain amongst the most unfairly other hand was a wayward drunk, eccentric and Canberra Weekly is a proud sponsor of the neglected works of the English Renaissance. incapable of holding a job. Both were drawn Like William Byrd, White was a catholic with to the David and Absalom story, perhaps for 2015 Canberra International Music Festival talent and connections to boot. He was the son different reasons, but both realised a rendition of an organ builder, obtained a music degree in of great emotional impact. Absalom the soldier, Cambridge in 1560 and by 1562 was ready to slain by Joab against the direct instructions of take over Christopher Tye’s position in Ely. After David, can easily be seen as one of the many a stint at Chester Cathedral, he received the plum young men drawn to battle and consumed in the post of organist and master of the choristers at heat of conflict, pointless victims to greater game Westminster Abbey. Sadly, White and his family of geo-political manoeuvres. Except for the fact fell victim to a virulent outbreak of the plague that this soldier had a name – Absalom, and his in 1574. father was David – King David. Roland Peelman

22 Canberra Weekly is a proud sponsor of the 2015 Canberra International Music Festival Monday 4 May, 6pm Embassy of the Federal Republic of Germany Fitters’ Workshop and Embassy of Israel present: CONCERT 11 Silver-Garburg Piano Duo

Ludwig van Beethoven (1770-1827) Camille Saint-Saëns (1835-1921) Sonata for four hands in D major, Op. 6 Introduction and Rondo capriccioso in 1. Allegro molto A minor (arr. Claude Debussy) 2. Rondo, Moderato 1. Introduction. Andante 2. Rondo. Allegro ma non troppo Franz Liszt (1811-1886) Sonata in B minor (arr. Camille Saint-Saëns) Gil Garburg and Sivan Silver piano 1. Lento assai - Allegro energico 2. Grandioso - Recitativo 3. Andante sostenuto - Quasi adagio 60’ no interval 4. Allegro energico - Stretta quasi presto - Presto - Prestissimo - Andante sostenuto - Allegro moderato - Lento assai This concert is supported by Muriel Wilkinson and June Gordon

The Silver-Garburg Piano Duo In the great and often underappreciated art can be heard all over the world during the 2014- of piano duo playing, Sivan Silver and her 15 season – both with orchestra and in recitals. partner Gil Garburg are setting a new standard: Upcoming engagements include tours with the acclaimed by audiences and critics alike, the Munich Chamber Orchestra, the Israel Chamber duo has been invited time and time again by Orchestra, and the Brno Philharmonic. The duo’s top orchestras, festivals, and concert organizers. most recent recording, Stravinsky’s Petrushka They have performed in Carnegie Hall, Lincoln and The Rite of Spring for four hands, is about Center, the Vienna Musikverein, the Sydney to be released on the Berlin Classics label. An Opera House, and the Berlin Philharmonie; they additional CD will be dedicated to the last works have concertized in approximately 70 countries of Schubert. on five continents; and they collaborate regularly In their late thirties, after 17 years of playing with such orchestras as the Israel Philharmonic, together, Sivan Silver and Gil Garburg are the St. Petersburg Philharmonic, and the establishing themselves as a presence at the Deutsche Kammerphilharmonie. top echelon of the music world – which, as a Their recording of Mendelssohn’s concertos for piano duo, requires a rare sense of oneness and two pianos and orchestra, with the Bavarian of the ever-changing roles of the four hands. The Chamber Philharmonic under Christopher avowed perfectionists rehearse for six hours each Hogwood, has been called “breathtaking” day, and the instinctive understanding between (Bayerische Rundfunk), “extremely exciting” them is so deep that the two even breathe (Süddeutsche Zeitung), and “brilliant” (Rondo). together. “We express our own emotions and, at The Frankfurter Allgemeinen Zeitung raved about the same time, a combined sensibility. We are the “lyrical sensitivity and the ravishing technical one, and yet we’re in dialogue with each other – mastery” of the duo, noting that only rarely does that’s the magic,” says Silver. one experience “such spontaneous shouts of In 2014, the Graz University for the Arts ‘bravo’” at the end of a concert. The Independent unanimously chose the Silver-Garburg Duo to concluded: “What a wondrous evening!” occupy one of the few extant professorships The two Israelis, who live in Berlin with their son, for piano duo. Previously, the pair taught at

24 the Hannover Musikhochschule, where they Sonata in B minor for piano. This one-movement themselves completed their studies in 2007 sonata makes the impression of a free, unbridled under Arie Vardi. fantasia, virtually an improvisation; but in fact the whole work is tightly constructed from the Silver and Garburg are invigorated by the need music of the sonata's introduction. to constantly adapt to the demands of duo recitals and orchestral engagements, moving The pianist and musicologist Alfred Brendel, between intimate pieces that require unity, among others, has claimed for years that the dialogic works, and those in which they evoke sonata is related to the Faust legend. Some the grand power of an entire orchestra at the two musicologists have also argued that the piece is pianos. “As a piano duo, it’s easy to make effects autobiographical, and point out that such a view with virtuosity. But that alone is far too little. We would not exclude a Faustian interpretation. want to move our listeners emotionally and bring them to the core of the music.” Saint-Saëns: Introduction and Rondo capriccioso in Beethoven: A minor (arr. Claude Debussy) Sonata for four hands in D major, Op. 6 This work is one of Saint-Saëns' few genuine Music for two or more players at one keyboard showpieces. Composed for his friend, the began to come into prominence in the generation virtuoso violinist Pablo de Sarasate (1844-1908) after J.S. Bach, as the piano began to displace the it is deliberately challenging -- a testimony to the harpsichord as the “default” keyboard instrument mature master's technique. Sarasate's frequent in a well-equipped musical household. J.C. Bach programming of the work did a great deal for contributed several sonatas to the four-hand its popularity in the years after its publication piano repertoire. In the next generation, Mozart (1870); its appeal was wide enough, in fact, that wrote a substantial quantity of exquisitely crafted both George Bizet and Claude Debussy made and irresistibly appealing music for two pianists. arrangements of it -- the former for violin and Haydn was much less prolific in this medium; piano, and the latter for piano, four hands. and his sometime pupil Beethoven contributed only a handful of early works to the four-hands literature. Of these, the most substantial is the two-movement Sonata in D Major, Op. 6, composed and published in 1797. It is generally assumed that the D Major Sonata was composed as a teaching piece. Nonetheless, it foreshadows the composer's maturity in several respects The most striking omen of the mature Beethoven lies in the sonata’s opening motif. If you take that three-shorts-and-a-long figure, change it from major to minor mode, and speed it up, you have the opening theme of Beethoven's Fifth Symphony -- arguably the single most famous piece of classical music in the world.

Liszt: Sonata in B minor (arr. Camille Saint-Saëns) There are only three works in Liszt's vast output that belong to any sonata form: the Faust Symphony, the Dante Symphony, and the

25 Tuesday 5 May, Midday Mount Stromlo CONCERT 12 Sounds on Site II: Space Exploration with Prof. Brian Schmidt, Director, Research School of Astronomy and Astrophysics, ANU

I. At the Oddie Telescope (1911) Kate Moore (b. 1979) Dolorosa (2014) WP for cello, electric guitar, vibraphone and live electronics II. On top of sculpture platform ‘Walking on the Moon’ – Anne Graham (2007) Kate Moore Rain (1998) for solo snare drum III. In the Yale-Columbia Telescope ruined shell (1925) Kate Moore ‘Sliabh Beagh’ (Little Mountain) (2014/15) WP for piano solo Commissioned by Lisa Moore with assistance from the Australia Council IV. In the Director’s Residence Kate Moore ‘To that which is endless’ (2015) for keyboard and winds, reconfigured for CIMF 2015 V. In the Visitors’ Centre Kate Moore Voiceworks (2015)

Prof. Brian Schmidt talks on Space Exploration

Pete Harden electric guitar 90’ no interval Bree van Reyk percussion Kate Moore cello, sound design This concert is supported by Lisa Moore piano Bev and Don Aitkin

Roland Peelman in conversation with Kate Moore, Composer in Residence

RP: Coming back to Canberra, how does it feel? at The Australian National University, was KM: A concoction of mixed emotions! On the one formative for me. It was a place of learning and hand it is very familiar to me, but I am observing the excitement of discovering something new. the city now as an outsider. It is the quiet, almost RP: I believe you are close to the performers on desolate landscape that surrounds the city that Mount Stromlo. Tell us a bit more about those speaks to me most. It promises solitude. The connections. subdued colours of hazy eucalyptus blues and purples and sun parched green, yellow ochre KM: It all began with the new piece commissioned and white adds mystical buoyancy to the place. for Lisa Moore, Sliabh Beagh. Lisa invited me to It draws me in. My time in Canberra, particularly write a new work about Australians with Irish

26 ancestry. Having the same surname as Lisa, we polyrhythms and dance beats. I wrote it for Bree exchanged stories about our heritage, trying to van Reyk all those years ago in Canberra when we work out if we might be related. We’re not, as far were students together. The funny part of the story as we know. is that, within a week of arriving back in Australia My father’s family migrated from Ireland in in January, I met up with Bree in Sydney. She 1841. They were farmers coming from country asked me what I was doing over the weekend. As straddling the borders of County Fermanagh, it happened I was heading to Singleton to visit my Monaghan and Tyrone. This landscape is called grandmother. Bree asked me: “Is your family from Sliagh Beagh, which means ‘Little Mountain’. Singleton too?” Turns out that not only is Bree’s My grandfather Harry passed away last year, so family also from Singleton but our fathers, both I decided to make this piece a tribute to him. named Chris, were in the same class at Singleton He was the last Moore to work the land of a High School and both played the guitar! I have long line tracing back to the beginning of time. known Bree for 18 years and this never came up It seems fitting to premiere this piece on Mount in conversation until now! So I guess this event Stromlo where my father works. My father was on Mount Stromlo is just meant to be and it’s all the first of our family to receive a doctorate and about family; my blood family and my musician work away from the land. He is a physicist and family. works on Mount Stromlo. RP: 'The Dam' – what does that refer to? The burnt-out telescopes are a fitting reminder of KM: Coming back to Australia this year I helped the battle between the destructive force of nature my mother’s family move house from Annandale and the fragility of the culture placed upon it. No in Sydney to their property in the Southern matter how great the learning, how enlightened Highlands. On this property there is a dam, and the information, how much we know, we are at I have spent many late summer afternoons sitting the mercy of our great planet. by the dam listening to the great orchestra of In the end, the Mount Stromlo project has turned creatures that inhabit it. I close my eyes and let out to be quite a family affair. Rain I wrote in my ears soak in the music of thousands of crickets 1998 when I was a student at the Canberra that are gradually drowned out by the dusk chorus School of Music. It was inspired by the rhythms of of frogs and birds. This is my favourite music of all raindrops dancing upon a corrugated iron roof. time and I try to let that inform the music I write, I love the sound of rainstorms that plummet to a painterly soundscape depicting the rich vitality the dry earth after a long period of drought. The and energy of wildlife in their native habitat. drops sound like they are drumming complicated

27 Tuesday 5 May, 6pm Tim Benson presents: Fitters’ Workshop CONCERT 13 Russian Masters

Alexander Scriabin (1872-1915) Andrew O’Connor bass-baritone Sonata No. 4 in F sharp major Op. 30 1. Andante Tobias Cole alto 2. Prestissimo volando Maria Mazo, Gabi Sultana Igor Stravinsky (1882-1971) and Daniel de Borah piano Pribaoutki (1914) † Trois pièces faciles (1915) Andrew Leathwick and † 1. March Adam McMillan piano 2. Waltz Tinalley String Quartet: 3. Polka Eoin Anderson violin Berceuses du chat (1915) Lerida Delbridge violin Justin Williams viola Sergei Rachmaninov (1873-1943) Michelle Wood cello ‘Blessed is the Man’ from the Vespers Op. 37 ANAM wind players Alexander Scriabin (1872-1915) Poème, ‘Vers la flamme’ for piano, Op. 72 ANAM string players Kyle Daniel double bass — INTERVAL — Robert Scott, Jason Noble clarinet

Dmitri Shostakovich (1906-1975) The Song Company and YAFF vocalists Piano Quintet in G minor, Op. 57 (1940) 1. Prelude. Lent - Poco più mosso - Lento 2. Fugue. Adagio 110’ including interval 3. Scherzo. Allegretto 4. Intermezzo. Lento - Appassionato This concert is supported by 5. Finale. Allegretto Gail Ford

Russian Masters However we choose to hear it today, there is broader changes in aesthetic thinking that they little doubt that for many of his contemporaries reflected were to become known Germany as the scandalous sounds of Igor Stravinsky’s third Neue Sachlichkeit, or the ‘New Objectivity’, great ballet for Diaghilev in Paris, The Rite of and elsewhere as ‘Neo-Classicism’. Composers Spring, were heard as an ominous prelude to across Europe reacted to the destruction war. Stravinsky himself was far from immune to wrought by both the Great War and by the the changing temper of the times, as evidenced perceived excesses of the hyper-romantic music by the tortured genesis of his next ballet, Les that preceded it. They sought instead to reassert noces, and the works that were to follow it. The principles of order, control and objectivity in art.

28 This return to order, however, also included Scriabin sets a rather grotesque and absurdist dimensions, perhaps simple melody to a highly most famously reflected in the post-war ‘Dada’ unusual accompaniment, movement. But the ‘grotesque’ had also long both in terms of harmony been a character common to Russian literature, and texture. According to reflecting, perhaps, the attempts of artists there to Vladimir Horowitz, this come to terms with the particularly disorientating was inspired by Scriabin’s impact of social and technological change eccentric conviction that through the nineteenth century that preceded the a constant accumulation Russian Revolution of 1917. of heat would ultimately cause the destruction of Pribaoutki (1914) is a cycle of four songs the world (hence ‘toward the flame’). Stravinsky composed in 1914 to Russian texts by Alexander Afanasyev that reflects both emerging Peter Tregear aesthetic characteristics. Its Russian title has no direct English equivalent, although ‘Nonsense Like the works in the first half of this program, Rhymes’ has been suggested. Trois pièces faciles Shostakovich’s Piano Quintet in G minor, (1915) (‘Three easy pieces’) for Piano Duet is in a Op. 57 was composed under the shadow of more overtly grotesque vein, but also looks back developing conflict. In 1940 most of Europe to the similar distortions of dance music forms had already plunged into war. The Soviet that can be heard in his ballet Petruschka (1911). Union, though ostensibly protected by a non- The Berceuses du chat (1915) (‘Cat’s Cradle aggression pact signed by both Stalin and Hitler, Songs’) reflect Stravinksy’s continuing interest was already beginning to face the certainty in Russian folk song. of conflict, though no one could imagine the With the onset of war actual brutality of the Great Patriotic War which Stravinsky had lost was to come. Yet the country was quiet, like the access to the land of proverbial calm before the storm. his birth, and there As with much of music, the is no doubt that this Piano Quintet is a historical interest took on added reflection of its time. It significance as a result. is a gravely serene piece Certainly, he could marked by a simplicity of draw upon first-hand texture, especially in the knowledge of his piano writing. This clarity subject matter; as was and accessibility was the custom for well-to-do urban families, the reflected in the popularity Stravinskys had spent their summer holidays of the work immediately in the countryside, where the young composer after its premiere. Rostislav Dubinsky, original gained direct experience of Russian and first violinist of the Borodin Quartet, recalls in Ukrainian folk traditions. his book, Not By Music Alone: “For a time the For Stravinsky’s older Russian contemporary, Quintet overshadowed even such events as the Alexander Scriabin, a sense of social dislocation football matches between the main teams. The was to find expression more through the Quintet was discussed in trams, and people exploration of unconventional forms of tried to sing in the streets the defiant second spirituality, and by his parallel attempts to theme of the finale.” express this interest in spirituality through equally unconventional musical devices. In his Poème, ‘Vers la flamme’ Op. 72, for example,

29 Wednesday 6 May, Midday, The Shine Dome CONCERT 14 Sounds on Site III: String Theory

In memory of Professor Michael Raupach (1950-2015)

with Prof. Craig Savage, Department of Quantum Science, Research School of Physics and Engineering, ANU

Ross Harris (b. 1945) New Zealand String Quartet: 'Variation 25 for string quartet' (2008) Helene Pohl violin Douglas Beilman violin Martin Wesley-Smith (b. 1945) Gillian Ansell viola ‘For marimba and tape’ Rolf Gjelsten cello John Psathas (b. 1966) Barbara Jane Gilby violin 'Unbridled, Manos Breathes the Voice of Life into Kartsigar' (2004) Lerida Williams violin Kyle Daniel double bass Address by Prof. Craig Savage YAFF string players Roger Smalley (b. 1943) ‘Strung-out’ (1987) Claire Edwardes marimba

6D Calabi-Yau quintic manifold This concert is supported by 75’ no interval Dianne and Brian Anderson

‘Variation 25 for string quartet’ The title refers to the 25th Variation of the Goldberg it as the basis of a single movement for string Variations by J. S. Bach. When I heard the New quartet. The work begins with canonic additions Zealand String Quartet perform the Goldberg to the original and evolves from there. Variations during their Bach and Mendelssohn Variation 25 was written while I was the Jack series in 2007, I had a strong desire to pay my Richards/Creative New Zealand Composer in respects to the beauty and richness of the music Residence at the New Zealand School of Music and to write another work for the wonderful New in 2008. Zealand String Quartet. I set about doing this by taking the music of the 25th Variation and using Ross Harris

30 ‘For marimba and tape’ Martin Wesley-Smith has earned a reputation political hypocrisy), one could easily forget that with songs for all occasions as well as through- he set up the electronic studio at the Sydney composed vocal works such as the classic ‘Who Conservatorium and composed a number of killed Cock Robin’, the award-winning ‘Quito’ perfectly crafted instrumental works that have or the more recent satirical work ‘doublethink’. remained in the repertoire. Arguably his most Equally remarkable is his oeuvre of audio- often-performed solo work is ‘For marimba and visual pieces that combine computer-generated tape’ from 1982. Created on the Fairlight CMI sounds with images and live performance such and lauded for its “spirit of intelligent enquiry” as Kdadalak or Papua Merdeka. In a lifetime (The Independent, London 1988), the work’s of creative work that consistently took its lead cascading marimba runs ricocheting against witty from hot political hot issues (oppression in East electronic banter still fascinates and entertains. Timor, PNG and/or any perceived instance of

'Unbridled, Manos Breathes the Voice of Life into Kartsigar' In Greek music taximia form part of an oral the second. In this piece the traditional ostinato tradition where improvisation played an has been removed and replaced by a pedal important role. Songs always began with an note (F-sharp), which creates a very different set instrumental prelude, the taximi, in which a of tensions and resolutions for the improvised musician showed off his prowess. This set the melody. mood for the song to follow, and could last for as When talking with Manos about his approach long as twenty minutes. to playing the clarino, it becomes clear that his This work began as a transcription of a recording of concept is of emulating as nearly as possible the a traditional taximi entitled Kartsigar, as performed human voice. This is the ideal that lies at the by one of Greece’s living master-musicians, clarino heart of much traditional musical expression in player Manos Achalinotopoulos (whose surname the instrumental folk music of Greece, and it is translates as “he who cannot be bridled”). the key to understanding the phenomenon of The taximi Kartsigar comprises two elements, listening to a unique player such as Manos and an ostinato and the improvised melody. The becoming gradually unaware of the presence of melody forms the basis of the first movement of the instrument he is playing. the quartet, and the ostinato forms the basis of John Psathas

‘Strung Out’ (1987) Born near Manchester in 1943, Roger Smalley of the instrument. ‘Strung Out’ is no exception. is part of a remarkable group of British late 20th The initial idea of the work was a strung-out century composers who had their feet firmly symmetrical seating arrangement with the double planted in European structuralism and developed bass in central position and four violins each at a soundworld reflecting the terse anti-romantic the outer ends. Two types of material (slow and agenda of serialism at first before giving way static verses fast and active) alternate, merge, and to a mellower harmonic idiom that allowed a alternate again. The composer likened this idea new level of freedom. After settling in Western “to a series of beads - of differing sizes, shapes Australia as Professor of Music, Smalley re- and colours - ‘strung-out’ on a thread at varying discovered the 19th century, which prompted a distances apart”. series of tautly constructed and vividly imagined concert works, often inspired by the nature itself

31 Wednesday 6 May, 6pm Fitters’ Workshop City News presents: CONCERT 15 Order of the Virtues

Hildegard von Bingen (1098-1179) Ordo Virtutum

Cast

Patriarchae et prophetae Patriarchs and Prophets Owen Elsley Richard Black Koen van Stade Mark Donnelly Andrew O’Connor Andrew Fysh

Querela animarum Lament of the Souls Owen Elsley Richard Black Koen van Stade Mark Donnelly

Anima The Soul Anna Fraser

Virtutes Virtues Scientia dei Knowledge of God Melissa Gregory Humilitas Humility Hannah Fraser Virtute Virtue Samuel Mitchell Caritas Charity Mark Donnelly Timor Dei Fear of God Andrew O’Connor Obedientia Obedience Melissa Gregory Fides Faith Sonya Holowell Spes Hope Greg Brennan Castitas Chastity Owen Elsley Innocentia Innocence Padraic Costello Contemptus mundi Contempt of the World Andrew Fysh Amor caelestis Heavenly Love Andrew O’Connor Disciplina Discipline Koen van Stade Verecundia Shame Mark Donnelly Misericordia Mercy Susannah Lawergren Victoria Victory Grace Leonard Discretio Discretion Richard Black Patientia Patience Leighton Triplow

Diabolus The Devil Clive Birch

directed by Koen van Stade

70’ no interval

This concert is supported by Jim and Peronelle Windeyer

32 Synopsis

Part I Prologue: Introduction of the Virtues to the Patriarchs and Prophets, who express their amazement at the Virtues. Part II A group of souls, imprisoned in human bodies, voice their complaints and frustrations and regret their sins. One particular soul, Anima, is eager to escape life and go straight to Heaven. The Virtues tell her that she has to live first. The Devil tries to seduce her. Part III The Virtues introduce themselves while the Devil occasionally interrupts and insults them. Part IV Anima returns and shows penitence. The Virtues accept her and turn on the Devil. After defeating him, they praise God. Part V Envoi: A musical contemplation on the difficult earthly journeys of the souls, and a hopeful plea for God to reach out and offer help.

Ordo Virtutum Born in 1098, the sickly tenth child of a wealthy for which she is most widely known today. A and influential family, Hildegard was sent at the striking feature of her music is the way in which age of 8 to live and study with a girl six years she extended the compass of her vocal palette: her elder, Jutta von Spanheim, who taught her to at a time when the compass of religious chant read and perhaps to sing. Six years later the two was rarely more than an octave, and the intervals girls were enclosed at a Benedictine monastery, between successive notes rarely more than two of which Jutta served as abbess. After Jutta’s or three tones, Hildegard wrote lines that leapt death some years later, Hildegard established her by fourths and fifths, and required a range of two own nunnery at Rupertsberg near Bingen, and octaves and more in her singers. developed an extraordinary career as a writer The child of a wealthy family, Hildegard’s earliest of religious and scientific books, of poetry and years would have been spent in a world of fine music, and of some 400 letters; as a preacher, and fabrics, and however ascetic her personal life as as a vigorous practitioner of Church politics. a religious may have been, she evidently took Since childhood Hildegard had had visions, pleasure in visualising shining robes for her which continued well into her adult life. Over nuns to wear while singing. Clearly Hildegard many years she compiled, with her confessor saw the potential for theatre to serve in religious and secretary Volmar, three large books in which worship. Poet, musician and costume designer - she both describes her visions and interprets all these talents came together when Hildegard them. The first of these, entitled Scivias (“Know created one of the earliest known morality plays, the ways of the Lord”), concludes with a set of Ordo virtutum - “The Order of the Virtues”, an songs summarising the visions she has described elaboration of the story of redemption in the final in the text, and in the final portion, a dialogue in section of the Scivias. which a penitent soul’s pilgrimage to heaven is We can assume that Hildegard’s nuns would represented in dramatic form. have been cast in the singing roles of the Soul Music was an essential element of the medieval and the Virtues. The Devil, having no place in the religious world in which Hildegard lived; it heavenly order, has only a spoken part, described has been calculated that she spent at least 4 in the text as strepitus – a hoarse shouting voice. hours a day engaged in chant. For Hildegard, Monks from a neighbouring monastery were music was a medium of direct communication probably recruited to sing the with God, and the 77 surviving liturgical works brief parts of the Prophets and written for her nuns are the corpus of work Patriarchs.

33 Thursday 7 May, Midday ACTEW presents: Australian National Botanic Gardens CONCERT 16 Sounds on Site IV: Forest Music with Dr. Judy West, Executive Director, Australian National Botanic Gardens In memory of Dr Tony McMichael (1942-2014)

A musical treasure hunt through the gardens, with an address by Dr. Judy West

Performers include:

Oğuz Mülayim ney Pete Harden electric guitar James Nightingale saxophone Alex Raupach trumpet Ensemble Offspring: Claire Edwardes percussion Bree van Reyk percussion Jason Noble clarinet The Song Company Alexander Hunter and the ANU Experimental Music Studio The YAFF instrumentalists

90’ no interval

This concert is supported by Judith Healy in memory of Tony McMichael AUSTRALIAN NATIONAL BOTANIC GARDENS, CLUNIES ROSS ST, ACTON Nestled at the foot of Black Mountain lies the The Gardens forms part of Parks Australia – a Australian National Botanic Gardens, home of Commonwealth network of reserves that includes the world’s most comprehensive collection of such places as Kakadu National Park and Uluru- Australian native plants. A visit to the Gardens Kata Tjuta National Park. takes you on a journey across Australia’s iconic Prime Minister John Gorton opened the Gardens landscapes – from the lush greenery of Australia’s as ‘Canberra Botanic Gardens’ on 20th October eastern coastal rainforest, through the grassy 1970. Growing recognition of the Gardens’ eucalypt woodlands, to the arid desert of Central importance as a national collection with plants Australia. from all over Australia led to the adoption of its With its mission to inspire, inform and connect new name, ‘National Botanic Gardens’ in 1978. people to the Australian flora, the Australian ‘Australian’ was added to the official name in National Botanic Gardens is the only national 1984 to identify the Gardens as the main national institution with a national collection that is institution for botany and horticulture. truly ‘alive’. Displaying over 6,300 native plant The Australian National Botanic Gardens is one species - showcased in themed landscapes of the first botanic gardens in the world to adopt that span across 35 hectares of water-wise and the study and display of native plant species as a sustainably managed gardens. principal goal. In the 1970’s the Gardens’ work

34 in this area sparked national interest in Australian range of self-guided walks, free twice daily guided plants for suburban and public landscaping. walks, Flora Explorer electric bus tours, afterDARK Today, the Gardens is increasingly involved evening experiences, talks, workshops, events in the conservation of native plants through and public programs. restoration projects, seed banking and species On 7 May 2015, the Australian National Botanic recovery projects.

To help grow and share the beauty of the Gardens, Gardens hosts a musical treasure hunt as part of the Friends of the Australian National Botanic the 2015 Canberra International Music Festival Gardens was founded in 1990 and has grown when the Gardens host Forest Music, with rapidly to include a broad group of people from musicians performing underneath its canopy all walks of life - united by a common desire to and amongst the array of plants and gardens. support and be part of the Gardens’ ongoing A complementary addition to the Australian mission to ‘inspire, inform and connect people National Botanic Gardens, classical music has to the Australian flora’. been widely attested to enhance the growth and metabolism of plants due to the soft melodic The Australian National Botanic Gardens offers pulsations that are created. Both the plants and visitors the opportunity to engage with its living visitors will enjoy this special event. collection in more ways than one - through a

35 Thursday 7 May, 6pm Canberra Weekly presents: Fitters’ Workshop CONCERT 17 Brahms at Twilight

Johannes Brahms (1833-1897) Daniel de Borah piano Three Intermezzi for piano from Op. 119 1. Intermezzo in B minor. Adagio Hannah Fraser mezzo-soprano 2. Intermezzo in E minor. Andantino un poco agitato New Zealand String Quartet: 3. Intermezzo in C major. Grazioso e giocoso Helene Pohl violin Douglas Beilman violin Johannes Brahms Gillian Ansell viola Two Songs Op. 91 for alto, viola and piano Rolf Gjelsten cello 1. Gestillte Sehnsucht (Yearning Appeased) – text by Friedrich Rückert 2. Geistliches Wiegenlied (Spiritual Lullaby) – text by Emanuel Geibel, from a Spanish poem by Lope de Vega

Johannes Brahms String Quartet No. 3 in B flat Op. 67 1. Vivace 65’ no interval 2. Andante 3. Agitato (Allegretto non troppo) – Trio – Coda This concert is supported by 4. Poco allegretto con variazioni Anna and Bob Prosser

36 Three Intermezzi for piano from Op. 119 Two Songs Op. 91 for alto, viola and piano Although Brahms’ late piano works are brief, The Zwei Gesänge Op. 91 (Two songs for Alto, they are among the most complex, dense, Viola and Piano) have a special place in Brahms’s and reflective works ever composed for the chamber vocal music, not least because the voice instrument. The Klavierstücke (Piano Pieces), is accompanied by a meaty part for the viola. Op. 119, was the last set of piano music that The first song in particular ('Gestillte Sehnsucht') Johannes Brahms composed. Written in 1893, contains one of Brahms’s most beautiful melodic while spending the summer in Ischl, Upper inventions. Austria, they are the final statement of Brahms’ The op. 91 was published in 1884, but the lifelong devotion to the composition of piano 'Geistliches Wiegenlied' was composed about music. They were published in Berlin by Simrock 20 years before, in occasion of the wedding of in 1893, and first performed in London in January Joseph Joachim. 1894. In this song Brahms uses a folktune as theme of Brahms’ late piano music is the perfect the viola part: the XIV century German Christmas example of how great both his composition carol 'Joseph lieber, Joseph mein'. and pianistic technique was. His display of harmonic understanding is breathtaking in the Op. 119 pieces. Furthermore, his subtle use of counterpoint to create polyphonic texture is mind-boggling.

However, brilliant as Brahms’ technical display is in the op. 119, the emotional depth of the pieces is just as amazing. Brahms wrote the following to Clara Schumann about the opening Intermezzo in B minor:

“I am tempted to copy out a small piano piece for you, because I would String Quartet No. 3 in B flat Op. 67 like to know how you agree with it. The String Quartet in B flat major, Op. 67, was It is teeming with dissonances! ... The composed by Johannes Brahms in the summer of little piece is exceptionally melancholic 1875 and published by the firm of Fritz Simrock. and ‘to be played very slowly’ is not an It received its premiere performance on October understatement. Every bar and every 30, 1876 in Berlin. note must sound like a ritardando, as if one wanted to suck melancholy out Brahms composed the work in Ziegelhausen, of each and every one, lustily and with near Heidelberg, and dedicated it to Professor pleasure out of these very dissonances! Theodor Wilhelm Engelmann, an amateur cellist Good Lord, this description will surely who had hosted Brahms on a visit to Utrecht. awaken your desire!” The work is light-hearted and cheerful, “a useless trifle,” as he put it, “to avoid facing the serious countenance of a symphony”.

37 Friday 8 May, Midday National Library of Australia CONCERT 18 - Reconciliation Place - High Court Sounds on Site V: From the Letter to the Law

I. Foyer, National Library of Australia Leanne Sullivan trumpet Peter Sculthorpe (1935-2014) David Greco baritone In Memoriam for trumpet and strings Anna Fraser soprano Nigel Butterley (b. 1935) Koen van Stade tenor the formlessness of cold WP arranged by Chris Williams for ensemble, as James Huntingford piano part of the Friends of the National Library of Pete Harden electric guitar Australia’s Creative Fellowship ANAM String Quartet: Andrew Ford (b. 1957) Charlie Westhoff violin A Pitch Dark Night for baritone, piccolo, Emma Zhuang violin trumpet and piano WP Eli Vincent viola Daniel Smith cello II. Reconciliation Place David Shaw† piccolo Judy Watson sculpture: Amy Whyte† clarinet Michael Hewes Fire and water sound design Bree Van Reyk percussion Gergely Mályusz French horn Near Möbius sculpture: Nigel Croker, Roslyn Jorgensen trombone Bree Van Reyk Improvisation The Song Company and YAFF vocalists dir. Koen van Stade Commonwealth Place corridor: Olivier Messiaen (1908-1992 ) ‘Appel interstellaire’ (1971-74)

III. High Court of Australia Giovanni Gabrieli (c.1554/1557-1612) Omnes Gentes

Philip Glass (b. 1937) 90’ no interval from String Quartet No. 3

Arvo Pärt (b. 1935) This concert is supported by Da pacem Domine (2004) Margaret and Peter Janssens

38 Two Octogenarians This year marks the 80th Anniversary of two Covell wrote at the time: “‘Laudes’ moves, despite major composers working on opposite sides of its fragmented part-writing, in a kind of sensuous the musical spectrum and opposite poles of the trance. It is ecstatic, luminous, even – the word globe: a great Estonian, Arvo Pärt who worked is used with full awareness – beautiful.” Butterley within the epicentre of Western music for most was never drawn to liturgical texts but preferred of his career, and a great Australian, whose to explore the poetry of Emily Dickenson and Antipodean career forced him somewhat to the Kathleen Raine. The latter provided him with periphery of the action. Both Butterley and Pärt direct inspiration for a number of major works such were attracted by the strictures of atonal serialist as The Spell of Creation, Paradise Unseen or The composition during the fifties and sixties. Pärt’s Woven Light. departure, however, was sudden and radical. The two featured From 1970 onwards he started writing pieces works in this festival that stand up as icons in an ancient church, are Benı̄ Avshalōm beautiful yet immovable. (2007), which will Pärt’s new style abandoned the principle of be heard in the final development altogether. Instead he pursued a concert; and an purity of harmony and a simplicity of purpose entirely new discovery which comes to us thanks he had encountered in music from the early to the Friends of the National Library of Australia European Renaissance. And as he reinvented and their current Fellow, Chris Williams, who himself as a composer, discovered amongst the papers and manuscripts so he was reinvented the beginning of an unfinished opera based on as a person. He Andersson’s The Snow Queen, to a libretto by writes: “In the Soviet John Frow. This fragment, the formlessness of Union once, I spoke cold, featuring the Snow Queen and Khai, today with a monk and receives its world premiere. asked him how, as a Roland Peelman composer, one can ‘A Pitch Dark Night’ prove oneself. He answered me by saying that he knew of no solution. I told him that I also This piece is a setting of words from the Gallipoli wrote prayers, and set prayers and the texts of diary of Arthur Taylor, a private in the 4th Light psalms to music, and that perhaps this would Horse Regiment. be of help to me as a composer. To this he said, A pitch dark night and you standing in a ‘No, you are wrong. All the prayers have already narrow trench just wide enough to stop been written. You don’t need to write any more. your shoulders from rubbing the sides, Everything has been prepared. Now you have to you can only see a handsbreadth in front prepare yourself.’“ of your face you hear the hiss of bullets Arvo Pärt has been featured abundantly during passing overhead you cannot strike a previous festivals in Canberra. This cannot be match as the flare might cost one of your said about Nigel Butterley, whose music is mates his life you move silently along past neither simple in appearance nor simple in the Officer on Duty he is muffled up to execution, yet who shares with Pärt a spiritual the eyes for the cold is bitter you look on search for truth and human connection. one platform and there is the machine gun stripped of his outer casing ready to Butterley’s departures were gradual and deal out death to any Turks that try to rush incremental, in the way his music also tends to our trench we were only 40 yards apart. unfold slowly. There was nothing hair-raising in Taylor, A H – Manuscript held at the 1964 about his first major work ‘Laudes’. Roger State Library of Victoria MS 12286

39 Friday 8 May, 3.30pm CONCERT 19 Fairfax Theatre Barbara Blackman’s Festival Blessing: National Gallery of Australia Being and Time

A conversation about Art and Music: Andrew Ford with Imants Tillers and Rosalind Page

Rosalind Page (b. 1956) Geoffrey Gartner cello Gabi Sultana piano ‘Being and Time III: Paradiso’ Jason Noble clarinet for solo cello and dice WP ‘Being and Time II: Tabula Rasa’ 75’ no interval for solo piano and dice ‘Being and Time I: Lacrimae rerum’ This concert is supported by for trio, wind gong and dice Christine Goode

Barbara Blackman (b. 1928) Author, music-lover, essayist, librettist, letter writer and patron of the Arts, Barbara was born in Brisbane in 1928. Her father died when she was three years old, and mother and daughter lived together in a series of homes and boarding houses in Brisbane. At Brisbane State High School, Barbara was introduced to the music of Shostakovich by fellow students Donald Munro, Roger Covell and Charles Osborne, and began a love affair with contemporary music that continues today. In 1950 she was diagnosed with optic atrophy; her vision declined rapidly until she became completely blind.

By 1952 Barbara was married to aspiring artist Charles Blackman, a marriage that produced three children and lasted nearly thirty years. The two lived a meagre but happy existence in Melbourne until 1960, when Charles was awarded the prestigious Helen Rubinstein Travelling Scholarship, and the family moved to London.

In later life, Barbara married Frenchman Marcel Veldhoven. The pair spent twelve years together before Veldhoven travelled to India to live and study Tibetan Buddhism. Though Barbara was raised in the Christian tradition, she broke away from the Church in her early twenties and today follows the teachings of Sufism.

In 2004, Barbara pledged $1 million to music in Australia: to Pro Musica and the ANU School of Music among other groups. Her generosity to Pro Musica enabled the Canberra International Music Festival to develop in directions that would not otherwise have been possible.

40 ‘Being and Time I: Lacrimae rerum’ for trio, wind gong and dice

Imants Tillers: Lacrimae Rerum (2007) Image courtesy the artist and Roslyn Oxley9 Gallery, Sydney.

Inspired by Imants Tillers’ epic Lacrimae rerum (2007), dedicated to his Latvian mother Dzidra, the three frames of Being and Time I unfold as a poetic ontologue between the seen and unseen, word, sound and silence:

1. How is the hammer of the Earth cut asunder and broken? this house of belonging the nature of things purified by tears these hearts touched by transience

2. Wave after wave, land beyond goodbye I will go on paths I will not speak But love will fill my heart

3. Tomorrow will be exchanged for this sky No prayer will console me No tree will understand into the mountains my grief must fly and the blackbird guard me in this fresh grave

41 ‘Being and Time II: Tabula Rasa’ for solo piano and dice

Imants Tillers: Tabula Rasa (2012) Image courtesy the artist and Roslyn Oxley9 Gallery, Sydney.

A philosophical existential in three frames, inspired by Imants Tillers’ Tabula Rasa (2012), dedicated to the artist’s father.

remember me From the vestiges of determinism, who is remembering whom? When memories are erased, with what do we replenish our being?

late horizons Beyond the sinuous line tracing family trees, how do we navigate the abyss? When language is lost, what can be sung?

cosmos In the diaspora of constellations, what can we hold onto? In the future that is becoming only movement or stillness or an idea of being

42 ‘Being and Time III: Paradiso’ for solo cello and dice WP

Imants Tillers: Paradiso (1994) Image courtesy the artist and Roslyn Oxley9 Gallery, Sydney.

Commissioned by Dr. Arn Sprogis and Dr. Margot Woods for the 2015 Canberra International Music Festival, Being and Time III: Paradiso takes visual and poetic inspiration from Imants Tillers’ Paradiso (1994), an early work from the artist’s Diaspora series. A poetic diegesis on the idea of paradiso and its anagram, diaspora, the three frames unfold from symbols and text embedded within the visual narrative of Tiller’s work:

1. We are dreaming 2. I had nowhere to go 3. Out of sight of Polaris, not yet lost

Being and Time III: Paradiso is dedicated to Irena Sprogis (Katalimova), born 1924, and in memory of Janis Sprogis, 1921-2009. Born in Latvia, their lives disrupted by the Second World War, fleeing as refugees from their homeland they found refuge in Australia. Their son and grandsons owe them a debt of gratitude that can only be repaid by a continual struggle for peace and harmony for all of humanity.

Rosalind Page

43 Saturday 9 May, 3pm Fitters’ Workshop CONCERT 20 Movers and Shakers

Brian Howard (b. 1951) Amy Dickson saxophone ‘Full Fathom Five’ WP Geoffrey Gartner cello Peter Sculthorpe (1935-2014) ‘Island Songs’ for saxophone and ensemble AP Roland Peelman piano and conductor 1. ‘Song of Home’ New Zealand String Quartet: 2. ‘Lament and Yearning’. Helene Pohl violin Douglas Beilman violin Gillian Ansell viola Rolf Gjelsten cello

Tinalley String Quartet: Eoin Anderson violin Lerida Delbridge violin Justin Williams viola Michelle Woods cello Barbara Jane Gilby violin

Anne Horton violin Kate Moore (b.1979) ‘Velvet’ for cello and piano AP YAFF string players

John Adams (b. 1947) Emmanuel Cassimatis† oboe ‘Shaker Loops’ for strings Amy Whyte† clarinet 1. Shaking and Trembling † 2. Hymning Slews Christopher Martin bassoon 3. Loops and Verses Ros Jorgensen, Nigel Crocker trombone 4. A Final Shaking Gergely Mályusz horn Leanne Sullivan trumpet 70’ no interval Kyle Daniel double bass

This concert is supported by Jim Nightingale saxophone Meredith Hinchliffe Claire Edwardes, Bree van Reyk percussion

44 ‘Full Fathom Five’ a chant called Djilile, from the nearby mainland Ever since the controversial acquisition of Blue coast – it means ‘whistling-duck on a billabong’. Poles in 1973, Canberra has had an association The third is a lament from Elcho Island, passed with Jackson Pollock. In Full Fathom Five, one on to me some years ago by a local tribal elder. of his earliest drip paintings from 1947, Pollock ‘Song of Home’ embraces the first two of the responds to Shakespeare with sinewy lines, large melodies and also makes references to the splashes of colour and intertwining motifs. Brian third. It sings of the love that the indigenous Howard has responded to Pollock’s painting with inhabitants have for their island home, the place an ensemble of 15 instruments: a “sinfonietta” where they and their ancestors were born. Sadly, size ensemble that to date doesn’t have a large because of climate change many of these places repertoire of works by Australian composers. Full are now in peril. The second movement begins Fathom Five is the first of a projected set of three with the lament, with the thought of islands that works based on paintings by Jackson Pollock. may disappear forever in the rising tidal waters. Many of Brian Howard’s works, besides his five This finally gives way to a return of the Thursday operas, are linked to literature or paintings. His Island music. Here, it sings of the yearning for score for the ballet The Celestial Mirror was a more stable world. Given the will to do so, it written in response to a painting by Charles is still possible for humankind to halt the worst Blackman. Recently he has written Alchemy effects of climate change. (String Quartet No 1) taking its focus from the Peter Sculthorpe 18 section painting by Brett Whiteley and he is currently writing Forever and ever (String Quartet ‘Velvet’ for cello and piano No 2) after John Pule’s three-part painting at the 'Velvet' Queensland Art Gallery. However, the larger part The title alludes to cloth as depicted of Brian Howard’s work is linked to literature, in paintings from Da Vinci or painters from the from smaller ensemble works such as Last Blues Dutch Golden Age such as Vermeer. The wealth of (Pavese), Sun and Steel (Mishima) and Fly Away fine garments and exotic textiles are painted with Peter (Malouf) to large orchestral works such as such precision, capturing the light and shadows Nocturnes for the King of Naples (White), Our of the falling cloth with detailed execution that Lady of the Flowers (Genet) and The Temple of the fabric appears to move in the surrounding air. the Golden Pavilion (Mishima). The tone of the cello is sometimes described as ‘velvety’. The melodic line in the piece alludes Full fathom five thy father lies; to the movement of cloth floating in air in a way Of his bones are coral made; similar to paintings such as Da Vinci’s studies of Those are pearls that were his eyes; draped fabric. Nothing of him that does fade, Kate Moore But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell: Ding-dong. Hark! Now I hear them – Ding-dong, bell. (Shakespeare, The Tempest)

‘Island Songs’ This work is based upon three melodies from Australia’s far north. The first is an almost- forgotten popular song from Thursday Island; during World War II, with the threat of invasion, it gave comfort to the islanders. The second is

45 Saturday 9 May, 8pm Limelight Magazine presents: Fitters’ Workshop CONCERT 21 Double Quartet

Franz Schubert (1797-1828) Tinalley String Quartet: String Quartet No. 12 in C minor Eoin Anderson violin (“Quartettsatz”), D. 703 Lerida Delbridge violin Justin Williams viola Sergei Rachmaninov (1873-1943) Michelle Wood cello Romance and Scherzo for string quartet 1. Romance (Andante espressivo) New Zealand String Quartet: 2. Scherzo (Allegro) Helene Pohl violin Jack Body (1944) Douglas Beilman violin ‘Cries: A Border Town’ AP Gillian Ansell viola Rolf Gjelsten cello Andrew Ford (b. 1957) ‘Common Ground’ for two string quartets WP The Song Company: Susannah Lawergren soprano Anna Fraser soprano — INTERVAL — Hannah Fraser mezzo-soprano Richard Black tenor Felix Mendelssohn (1809-1847) Mark Donnelly baritone Octet for strings in E flat major, Op. 20 Andrew O’Connor bass 1. Allegro moderato ma con fuoco 2. Andante 3. Scherzo. Allegro leggierissimo 4. Presto This concert is supported by Christopher and Rieteke Chenoweth 105’ including interval and Robin Gibson

46 ‘Cries: A Border Town’ ‘Common Ground’ On September 25, 1940, a man presented himself When Roland Peelman asked me if I’d write a at the customs office of the border crossing at new piece for the 2015 Canberra International Portbou in the French Pyrenees. There his request Music Festival, he called it a ‘double string for an official stamp to legalise his departure quartet’, and added ‘like the Mendelssohn’. from Vichy France into Spain was denied. That In fact this is a slight contradiction. Mendelssohn’s night, in his hotel room, facing that prospect astonishing Octet – astonishing, not least, because as a German Jew of being delivered back into it’s the work of a boy – is generally played when the hands of the Nazis, the man took his own two quartets come together, but actually it’s a life. That man was Walter Benjamin*, one of the piece for four violins, two violas and two cellos. twentieth century’s most important philosophers The more I thought about my piece, the more I and literary critics. His age was 48. liked the notion of a ‘double string quartet’ – a As I face my own mortality I also stand at the piece in which each quartet retains its identity. In border. However, unlike Benjamin, I am a my mind’s eye, I even saw the two groups sitting traveller reluctant to transit. But the sentence separately on stage, a sort of musical ‘no man’s has been pronounced, preparations made, and land’ between them. when the call comes, proceed I must. But at least ‘No man’s land’, indeed, was my first idea for I have been blessed with many more years than a title, but I had already used it as the title of the tragic Benjamin was granted. a movement in another piece. Then I wondered Name? about ‘Neutral Ground’, but there was something Walter Benjamin a little dispiriting about the word ‘neutral’ in a Age? title. Finally, I hit on ‘Common Ground’, the title Forty-eight. referring not only to the shared space between Profession? the two ensembles, but to a shared ground bass. Philosopher. This is the same ground bass that runs through Your request? my song ‘A Pitch Dark Night’, a setting of a Border transit. passage from the Gallipoli diary of Arthur Taylor, Request declined. and just before the end of ‘Common Ground’, the song itself appears, rearranged and passed Deceased. back and forth between the two quartets. Walter Benjamin Walter

‘Common Ground’ was commissioned for the Your name is known. Canberra International Music Festival by my Your age is known. generous friend, Barbara Blackman. You are expected. The border is open. Andrew Ford

The stream of your life Has become a river Whose banks grow ever wider.

It is time to embrace the ocean.

Jack Body

*Benjamin’s death certificate mistakenly reverses his names, as “Benjamin Walter”.

47 Sunday 10 May, 11am ACTEW presents: Canberra Girls’ Grammar Senior School Hall CONCERT 22

Andrew Howes (b. 1992 ) Moorambilla Voices Sticks and Stones Woden Valley Youth Choir Why can’t I fly Vocal Fry Dan Walker (b. 1978) Canberra Youth Orchestra My Goodbyes Duncan Driver narrator William Brown (b. 1993) Sing to the Stars dir. Michelle Leonard and Rowan Harvey-Martin George Dreyfus (b. 1928) The Adventures of Sebastian the Fox 60’ no interval Katy Abbott (b. 1971) Crime Scene This concert is supported by Investigation Marjorie Lindenmayer

Moorambilla Voices is more than a program about country kids learning about artistic expression, it’s a program that helps them find their voice, their passion and even their path for the future. Established in 2006, it has brought together more than 12,000 students from 78 schools, aged between 8-17, as part of a unique cultural experience. It has created real partnerships with major professional artists across the country, the education community in the region and has assisted in developing teachers and community member’s skills. The program has also had a significant effect on the school retention, self-confidence and self-efficacy of its participants. After nine years graduates of the program are now moving into tertiary education and planning the next phase of their lives, shaped in part by their experience with Moorambilla Voices; pursuing careers in music, community services and the environment. The program offers three choral ensembles for students from years 3-11. These young people take part in a series of workshops in composition, movement, percussion, music skills development and visual art with indigenous artists during intensive creative residency camps. The activities culminate in recordings and performances at the Moorambilla Festival in Coonamble. Since 2006 the program has grown from a fledgling idea into a full-bodied movement that has become an integral part of regional life and education in Western NSW. Schools and communities have embraced the change, moving from reluctant participants to eager advocates. For many of these students this is the only opportunity they have for cultural expression, at this level, in this part of NSW. It is life changing for all involved. The main aim of Moorambilla Voices is to develop young people’s singing and musical potential. We provide challenging musical learning experiences in high- level choral music making, with leading professional musicians and ensembles, in an intensely creative and focused environment – and our participants THRIVE on it! Margie Moore

48 The Adventures of Sebastian the Fox Crime Scene Investigation Text by Katy Abbott and Bec Christensen

In the early 1960s, filmmaker Tim Burstall received You are now a suspect in a murder an ABC commission to produce a television investigation. The leader of the orchestra – series for children, The Adventures of Sebastian the first violinist – has just been murdered the Fox. The episodes concerned the doings of as she swept off the stage, never to return a small and appealing puppet (designed and for her encore. Please remain seated while operated by puppeteer Peter Scriven) surrounded the evidence is collected and analysed. in his experiences by human characters. As the episodes had no dialogue, the soundtrack was all Crime Scene Investigation was commissioned music. For the first in the sequence, music critic by MLC School (Sydney) for their 2005 Sydney Dorian Le Gallienne wrote a score but had to Opera House concert ‘Flights of Fantasy’. The give up any further work as he was suffering from audience inadvertently found themselves prime an eventually fatal illness. suspects at a crime scene. Le Gallienne proposed that a young composer The terms ‘mystery’ and ‘fantasy’ conjure up all colleague, George Dreyfus, take over the sorts of evocative imagery: goblins and forests, task and the results achieved remarkable moody sound-worlds and space adventure. I success, retaining their flavour to this day by like to keep things more local and in real time. complementing the episodes with their subtle At the time of writing the piece, the television whimsy and melodic fertility. programmers were presenting a fairly constant Clive O’Connell array of murder mystery and crime programs, such as Crime Scene Investigation (Las Vegas, NY Episodes and Miami) and other shows such as Criminal 1. Sebastian and the Sausages - Sebastian steals Intent and NCIS. My twins were one year old, sausages cooked by a tramp. and in order to escape the busyness of the 2. Sebastian and the Burglar - Sebastian seeks daytime, and keep awake in the early evening, refuge in a house at the same time as a burglar. my lovely husband became addicted to Crime 3. The Bomb Scene Investigation. Unfortunately, he would fall 4. The Animal Catcher - Sebastian is caught by a asleep 45 minutes into the program and wake pet catcher up five minutes after the end. As a dutiful wife, I 5. The Sleepwalkers - Sebastian dresses up as a would relay the plot and of course describe the ghost bloodied evidence that led to the murderer and 6. The Showman - a greedy showman exploits the arrest of the culprit. Sebastian’s talents as a violinist 7. The Gold Mine - Sebastian buys a gold mine. Having a brain that was quite befuddled in 8. The Painter - Sebastian enters an artist’s studio. new-found parenthood, composing a spoof of 9. The Doll’s House - Sebastian decides to move such a TV program appealed and seemed to fit into a doll’s house. into the ‘fantasy’ aspect of the Sydney Opera 10. The Castaway - Sebastian gets shipwrecked. House concert. I wanted to compose something 11. The Classroom - Sebastian plays up in a contemporary and fun. Knowing how well classroom. rehearsed the ensemble would be, I wrote music 12. The Potters - Sebastian moves into a potter’s that would engage the singers and challenge studio. them to sing it ‘as if it was the first time they 13. The Fashion Parade - Sebastian wanders into heard the story’. I derived a perverse pleasure the middle of the judging of the Best Dressed from imagining a girls’ choir singing about being Man of the Year Competition. ‘shot dead in the head’ in the most polite tones. Katy Abbott

49 Sunday 10 May, 1pm Embassy of the United States of America Gandel Hall presents: National Gallery of Australia CONCERT 23 A World of Glass Philip Glass (b. 1937) Ensemble Offspring: Claire Edwardes, Bree van Reyk vibraphones 1 + 1 (1968) Jason Noble clarinet and keyboard Two Pages (1968) Jim Nightingale saxophone Music in Similar Motion (1969) Graeme Jennings violin Music in Fifths (1969) Gabi Sultana, Alister Spence, Music in Contrary Motion (1969) Roland Peelman keyboards † Knee Plays 1–5 from Einstein on the Beach (1976) David Shaw flute Music with Changing Parts (1970) The Song Company with YAFF vocalists

This concert is supported by 120’ no interval Rosanna Hindmarsh

New music in a new place For many artists in the 1960s, New York was the was happening around Boulez’ domaine musical. place to be. A range of visual artists embarked In reaction, he collaborated with artists in theatre on radical depictions of reality seen through and film and worked with Indian musicians such the lenses of outrageously designed sunglasses as Ravi Shankar. Not surprisingly his next travels or the haze of chemical substances. New York in 1966 took him to Northern India, where he had the best parties, the grittiest underground came in contact with Tibetan refugees and began scene and probably the greatest collection of to gravitate towards Buddhism. By the time he anti-traditionalists around at any one time. John returned to New York, he was ready to reject all Cage, perched above 5th Avenue, and Andy his earlier work and reduce all musical material Warhol, holed up in ‘The Factory’, set the scene to a bare minumum. Indian music had taught him for a major tabula rasa. Away from the hallowed “how to hear differently”. As he explained it: “In temples of European art, as well as the arcane western music we divide time, as you slice a loaf complexity of serial composition, a total re-think of bread. Indian music takes small units, or ‘beats’, of musical essence emerged in the smoky lofts and strings them together to make up larger time and basements, as well as in galleries where values.” This resulted in long pieces with small art could be experienced differently. In 1968, melodic cells, endlessly strung together and at the Film-Makers’ Cinematheque, an event repeated at a constant (mostly loud) volume. The took place which Philip Glass now considers to effect was hypnotic. Not only did it it become have been his debut. The audience consisted of part of a new movement, called ‘minimalism’ – mostly visual artists, Glass says: this was “a very alongside similarly driven explots by Terry Riley conceptual concert. Both visual and musical.” and Steve Reich; it also found a new fan base in musicians such as Brian Eno and David Bowie. By that stage, Philip Glass had been marked As Andy Warhol had brashly embraced market by two different but defining experiences. As a consumerism, Philip Glass’ form of minimalism Fulbright scholar he had spent two years in Paris, easily connected with elements of popular having lessons with Nadia Boulanger (as every music and dance music that resonate today. It visiting young American composer would in formed the first potent opposition to European those days), and developing a loathing for what complexity since Word War II.

50 The title of 1+1, one of nine initial pieces that were now thinks that “It was a little too spacey for my presented at the Film-Makers’ Cinematheque tastes.… We don’t play it much anymore. But it in September 1968, indicates the nature of was very important to my development. I proved his reductive aspirations. In February 1969 he to myself that the music I was making could wrote Two Pages, no more than a single additive sustain attention over a prolonged period of time musical line over two pages for a keyboard – an hour or more. And that led directly to Music player. Consciously or not, he revisited Western In Twelve Parts, and then on to the operas.” history’s progression from bare rhythm, to By late 1970 Glass had returned to theatre, monody, and on to basic organum - although and set the stage for fertile and long lasting at great speed. Music in Fifths could be seen connections with such leading figures as Robert as a cheeky homage to Nadia Boulanger, who Wilson. Einstein on the Beach, premiered at the loved to point out hidden parallel fifths in his Avignon Festival in 1975, brought his music work – a cardinal sin in European music theory! into the international limelight. The Kneeplays Music in Contrary Motion and the inevitable from Einstein on the Beach were written as counterpart Music in Similar Motion from 1969 grew more intricate and dramatic, using slightly bigger forces – the Philip Glass Ensemble as we now know it. These pieces were performed in the Whitney Museum of American Art in 1969 and the Guggenheim Museum in 1970, often to unmistakable hostility from critics. We now might call them ‘classic’ minimalism, as opposed to ‘romantic’ minimalism, if we wish to describe Music with Changing Parts from 1970. Brian Eno described this music as a “viscous more intimate portrait-size pieces in between bath of pure, thick energy”, concluding “this was the large scenes. They use vocalists as well as actually the most detailed music I’d ever heard. It the unmistakable Einstein violin solo underneath was all intricacy, exotic harmonics.” Indeed, this hypnotic organ drones. But Glass’s break with one-hour-long piece could be considered one of the tradition was clear and defining. Just as the composer’s most significant and attractive he was prepared to revisit the beginnings and works. It was issued only on LP, packaged in a building blocks of Western music, he was cheaply made, grainy black and white cover, prepared to engage or disengage with any aspect and has been out of print since the late 1970s. of its traditions. He simply refused to accept It uses all the devices of the previous pieces and that music was one long inevitable strand of is clearly conceived for the musicians he had development, musically or historically. In his been working with, but it adds a sense of the own words: “When I struck out in my own music epic. Some early performances reportedly went language, I took a step out of the world of serious on for up to two hours. But in this work Glass music, according to most of my teachers. But I allowed both himself and the players a certain didn’t care. I could row the boat by myself, you impulsive, almost romantic, creative freedom know? I didn’t need to be on the big liner with that is markedly absent in the stark, formalist everybody else.” rigor of the earlier works. In retrospect Glass Roland Peelman

51 Sunday 10 May, 7pm Hardwickes presents: Fitters’ Workshop CONCERT 24 Festival Closure

William Brown (b. 1993) Moorambilla Voices Sing to the Stars dir. Michelle Leonard

Andrew Howes (b. 1992 ) The Song Company Sticks and Stones All YAFF vocalists and instrumentalists Why can’t I fly Graeme Jennings violin Philip Glass (b. 1937) Anne Horton violin Violin music from Einstein on the Beach Bree Van Reyk drums Traditional Hashivenu James Huntingford piano James Nightingale saxophone Nigel Butterley (b. 1935) Benı̄ Avshalōm for unaccompanied choir dir. Roland Peelman

Ernest Bloch (1885-1977) Deborah Conway and Willy Zygier ‘Nigun’ from Baal Shem: Pictures from Chassidic Life

80’ including interval — INTERVAL — This concert is supported by Deborah Conway and Willy Zygier Major General the Honourable Michael Jeffrey Songs from Stories of Ghosts and Mrs Marlena Jeffrey

52 Jewish roots and rites A single book, the Hebrew Bible, lies at the heart or to base my work on melodies more or of Jewish culture and Jewish identity as the people less authentic. I am not an archeologist.... of Israel. The story of the Ark of the Covenant, It is the Jewish soul that interests me ... the told in the two books of Samuel, constitutes the freshness and naiveté of the Patriarchs; the theological history of the Israelites. Their first violence of the Prophetic books; the Jewish king Saul proved unworthy until God’s choice savage love of justice.” fell on David, who defeated Israel’s enemies, It was only in Western Europe, under the brought the Ark to Jerusalem and set an example influence of the surrounding musical cultures, of strong and successfully lasting rule. The same that polyphonic Jewish music started to be book tells us of David’s musical prowess as a heard. Salomone Rossi’s Song of Solomon is a harp player and the musical feast that celebrated particularly outstanding collection of Hebrew the bringing of the Ark to Jerusalem. motets written for the Jewish community Music, and specifically the Psalms, have always in Mantua around 1600, and traditional been associated with King David. One of the harmonisation became quite common in the more tragic stories from David’s reign recounts Western Azhkenaz practice during the 19th the death of his favorite son Absalom. This story century. and the poetry of David’s heart-wrenching But the most recognisably Jewish music lament prompted highly expressive settings by a today comes from klezmer bands, a happy number of 16th century composers, as we heard concoction of Slavic, Balkan and middle-Eastern in Monday’s concert. The subject returns tonight characteristics with a sprinkling of jazz thrown in a remarkable recent setting by the Australian in for good measure. It thrives in the USA, Nigel Butterley. Benı̄ Avshalōm combines both and émigré communities in other countries the narrative of what happened to Absalom and have produced different but no less interesting the sound of his father’s lament. emanations of Jewish culture in contemporary Under David’s successor, Solomon, the temple society. Hence the performance of Deborah was built in Jerusalem. With it emerged a Conway with her partner-in-crime Willy Zygier prototype of chant that over the centuries would at the close of this year’s festival. be transformed into no less than eight distinct Most artists live a secular existence, little chant traditions, following the nature and concerned with the ancient rites of their diversity of the diaspora. The three best known forefathers. Nevertheless, Ben Lee, Elena Kats- are the Sephardi tradition (in Iberia), the Western Chernin, George Dreyfus, Lior and Barry Kosky Azhkenaz (roughly in the German spreaking are all fascinating exponents of a rich and countries) and the Eastern European Azhkenaz deeply engaged culture. Stories of Ghosts, tradition that became dominant in the USA. the acclaimed 2013 album of Conway and Ernest Bloch is one of many German composers Zygier, beautifully explores the connections who emigrated to the US in the early 20th between ancient practice and modern life. As century. To this day he remains one of the most an unbeliever’s examination of biblical themes, prominent musicians to derive his inspiration it is unparallelled in Australia. It won Conway from the Jewish lifestyle and liturgy. He and her partner many plaudits, and asserted the describes his connection to Jewish music as vibrancy and relevance of Jewish culture in the intensely personal: 21st century at the antipodean outskirts of the world. “It is not my purpose, nor my desire, to attempt a ‘reconstitution’ of Jewish music, Roland Peelman

53 JOIN THE PALACE MOVIE CLUB AND

EXPERIENCE CINEMA IN STYLE!

FREE TICKETS, EXCLUSIVE INVITES, DAILY DISCOUNTS

ENQUIRE TODAY AT THE CINEMA BOX OFFICE OR ONLINE AT palacecinemas.com.au/movieclub JOIN THE PALACE MOVIE CLUB AND

EXPERIENCE CINEMA IN STYLE!

FREE TICKETS, EXCLUSIVE INVITES, DAILY DISCOUNTS

ENQUIRE TODAY AT THE CINEMA BOX OFFICE OR ONLINE AT palacecinemas.com.au/movieclub Delivering the Kingston Foreshore Vision

The Land Development Agency (LDA) sells and develops land on behalf of the ACT Government and is proud to support the 2015 Canberra International Music Festival.

Kingston Foreshore is leading the way as Canberra’s premium waterfront destination to live, visit and dine. The precinct is an example of the LDA’s dedication to delivering sustainable communities, achieving new standards of innovation, excellence and value in urban design.

To receive information about the LDA’s upcoming residential, commercial, industrial or community land releases across the ACT, register at www.lda.act.gov.au, call 1800 777 952 or like the LDA’s Facebook page.

LIKE US ON FACEBOOK B2B magazine: in tune with business

Proud sponsor of the Canberra International Music Festival

magazine

www.b2bmagazine.com.au

Fast, Efficient & Affordable

Proud supporters of the 2015 Canberra International Music Festival

260214 -

G6655049AA 1300 761 799 www.festival.net.au AUSTRALIA’S CLASSICAL MUSIC AND ARTS MAGAZINE

Proudly supporting the 2015 Canberra International Music Festival

THE CHOICE OF AUSTRALIA’S FINEST MUSICIANS

With up-to-date news from the world of classical music, exclusive Fast, Efficient & Affordable interviews with international superstars, in-depth features,

and unmissable reviews and event listings, it’s no surprise that

Limelight is the only choice for Australia’s finest musicians.

In print and online, Limelight is Australia’s essential guide Proud supporters of the 2015 Canberra International Music Festival to the world of classical music and the arts. 260214 -

G6655049AA 1300 761 799 www.festival.net.au GET CLOSER TO THE MUSIC

To find out about subscriptions, go to limelightmagazine.com.au In tune with the arts in the Capital.

OUT NOW $8.80 INCL GST

AUSTRALIA ISSUE SIXTY FOUR APRIL - MAY | 2014

INCLUDES DailyCAPITAL LOVE ARTS CALENDAR AT FIRST MEET ANGUS TRUMBLE NEW DIRECTOR SIGHT OF THE NATIONAL PORTRAIT HOMES REID LUXURY

SKYWHALE: LOOK UP IN WONDER AN INTERVIEW WITH PATRICIA PICCININI Proud supporter of the Canberra International Music Festival

BOOK REVIEW 100 CANBERRA HOUSES: SUBSCRIBE TO CAPITAL MAGAZINE AT A CENTURY OF CAPITAL CONNECTIONS ARCHITECTURE WITH NATURE JULIE BRADLEY www.capitalmagazine.com.au A husband returned from war… A wife wracked by suspicions…Will they survive? Handel's HerculesHercules

Saturday 30 May 2015, 7.30pm The Playhouse | Conducted by Brett Weymark Starring Christopher Richardson and Christina Wilson Tickets 6275 2700 | www.canberraticketing.com.au

CCS_HERCULES_CIMF_88x125.inddIn celebration of1 Nigel Butterley's 80th birthday27/03/2015 12:14 pm year, Wildbird is delighted to announce the publication of the third volume in its Australian Composers series. Written by Elliott Gyger, Senior Lecturer in Composition at the University of Melbourne, this book looks at all the major compositions by Nigel Butterley and features a large number of musical examples to enable music students, teachers and the interested public to see the key features of his creative world.

Special offer for festival goers: a copy of The Music of Nigel Butterley for $35 (incl. GST) plus postage. Enter this code during checkout: 2015CIMF Offer valid 1-14 May 2015.

Visit www.wildbirdmusic.com.au to order or find out more about Wildbird and our publications. The Musicians

Artistic Director

Roland Peelman An acclaimed musician of great versatility, Roland artistic projects, including Kalkadunga Yurdu with Peelman was born in Flanders, Belgium, and has been didgeridoo artist and composer William Barton. active in Australia over 25 years as a conductor, pianist, His overview and understanding of the music canon artistic director and mentor to composers, singers and is unique. With a repertoire that includes the major musicians alike. Peelman has received numerous classical works from Bach to Gershwin as well as a accolades for his commitment to the creative arts in vast oeuvre of early music, from Lassus, Monteverdi Australia and specifically for his 20-year directorship and Schütz to Purcell, Peelman is Australia’s most of The Song Company, during which the ensemble has innovative and versatile musical director. His passion grown into one of Australia’s most outstanding and for new music has been crucial to an ever-growing innovative ensembles. repertoire of concert music as well as music theatre. Peelman is widely recognised as one of Australia’s Over the years Peelman has directed numerous finest musicians, receiving the NSW Award for “the recordings and premiere seasons of new operas most outstanding contribution to Australian Music by such as Black River, Fahrenheit 451, The Burrow, The an individual” and named “musician of the year” by Sinking of the Rainbow Warrior and Gauguin, to name the Sydney Morning Herald’s music critic in 2006. just a few. In 2009 Sydney Morning Herald reviewer Peter He has worked with most orchestras in Australia,and McCallum named Peelman “The Innovator”, praising continues to develop new projects that aim to change him as the mastermind behind two of Sydney’s and re-invigorate the nature of concerts, both in form “best moments” in music, referring to the Tenebrae and content. III dance collaboration to music by Gesualdo, and the Festival Licht, featuring music by the composer In 2015 Roland was appointed to succeed Karlheinz Stockhausen. Peelman has also been widely Christopher Latham as Artistic Director of the recognised for his creativity in commissioning new Canberra International Music Festival.

The Composers

Nigel Butterley Conservatorium from 1973 to 1991, and currently Since the instrumental octet Laudes (1963) Nigel teaches composition at the Sydney Conservatorium of Butterley has been recognised as one of the foremost Music. Nigel Butterley holds an Honorary Doctorate Australian composers of his generation. His output in music from the University of Newcastle, and is a includes chamber music, the orchestral Meditations Member of the Order of Australia. of Thomas Traherne (1968) and From Sorrowing Earth Andrew Ford (1991), the opera Lawrence Hargrave Flying Alone Andrew Ford is a composer, writer and broadcaster, (1988), and music for choir, vocal ensemble and solo and has won awards in all three capacities, including voice. He was awarded the Italia Prize for In the Head the 2004 Paul Lowin Prize for his song cycle Learning the Fire (1966) and the Paul Lowen Orchestral Prize for to Howl, a 2010 Green Room Award for his opera Spell of Creation (2001), for soloists, choir and orchestra. Rembrandt's Wife and the 2012 Albert H Maggs Prize As a pianist Nigel Butterley has been interested in for his large ensemble piece, Rauha. His music has accompanying and in exploring the piano duet been played throughout Australia and in more than repertoire; he is also known for his many performances 40 countries around the world. He was composer- throughout Australia of Messiaen's Visions de L'Amen and in-residence with the Australian Chamber Orchestra John Cage's Sonatas and Interludes (for prepared piano). (1992–94), Peggy Glanville-Hicks Fellow (1998– He was lecturer in contemporary music at Newcastle 2000), Australia Council Music Board Fellow (2005–

62 06) and resident composer at ANAM in 2009. In April Amsterdam Sinfonietta, Nieuw Ensemble, Alarm 2014 he was Poynter Fellow and Visiting Composer at Will Sound, Bang on a Can All-Stars, Calder Quartet, Yale University. A former academic, Ford has written Ensemble Offspring, and Asko|Schönberg. She holds widely on all manner of music and published eight a doctorate from The Conservatorium of Sydney books, most recently Earth Dances: music in search of (Sydney University 2008-2012), she completed her the primitive (2015). He has written, presented and co- masters at the Koninklijk Conservatorium (2002- produced four radio series, including Illegal Harmonies 2004) and received a Bachelor of Music with first and Dots on the Landscape, and since 1995 he has class honours from the Australian National University presented The Music Show each Saturday morning on (1998-2001). She was awarded prizes including ABC Radio National. Den Haag Toptalent (2012), De Komeet cultural award (2010) and the Carlsbad Festival of Music Brian Howard Composition Prize (2010) among others. Brian Howard, one of Australia's most striking composers of chamber operas, studied with Peter Ekrem Mülayim Sculthorpe, Richard Meale, Bernard Rands and Sir Ekrem Mülayim is a Sydney-based composer, born in Peter Maxwell Davies. He has taught composition Istanbul, Turkey. Currently doing a Master's degree at University of Melbourne and New South Wales in composition at Sydney Conservatorium of Music, Conservatorium in Sydney, and held composer he has been actively involved in the Australian residencies at Cité Internationale des Arts in Paris and music scene since his arrival in 2005. Along with the Royal Danish Ballet in Copenhagen, He has had his involvement in new music, he specialises in commissions from Australian Opera, Victoria State composing for theatre, film and dance. His theatre Opera, Australian Broadcasting Corporation, West credits include Belvoir Street Theatre productions Australian Ballet and Opera Factory Zürich. of Yellow Moon, Cut and The Kiss, Tell it like it isn’t for Howard is particularly acclaimed for his chamber operas, Australian Theatre for Young People and Vigil for Spirit based on texts by Steven Berkoff (after Kafka), Louis House Theatre Company. His other collaborations Nowra and Jean Rhys; his operas have strong theatrical include Critical Path, Campbelltown Arts Centre thrust, with social conventions threatened by dangerous for Composers-Choreographers Lab Residency, external forces and psychological disturbance. His The Australian Voices and The Song Company. output also includes evocatively crafted ensemble and Ekrem made his international debut with Lost Souls, orchestral works. His early scores demonstrate a forceful, composed in 2009 for a speech choir. Lost Souls has modernist idiom while recent works embrace tonal recently been released on the album Playing with harmony, minimalist processes and a rich poetic vein. Words by GruenRekorder in Germany.

Kate Moore Rosalind Page Kate Moore is a composer of new music. She creates Composer Rosalind Page has created works for theatre, worlds of sound for acoustic and electroacoustic chamber ensembles, orchestra and electronica, with media and writes instrumental music, concert music, international performances in Europe, USA and sound installations and more. Moore specialises Japan. Rosalinds artistic practice shares affinities in creating surprising performance scenarios that with the philosophies of Deleuze and Ricoeur and feature virtuosic instrumentalists and musicians includes her M.A. (Theatre and Film Studies) on the set amidst unusual and alternative performance cinema of Yasujiro Ozu, Wim Wenders and sound/ circumstances. Her work has been performed in image relationships in the films of Andrei Tarkovsky. venues including Carnegie Hall, The Sydney Opera In 2004, Fracture: a noh play for cello and orchestra, House and the Concertgebouw Amsterdam and an interpretation of Shakespeare's King Lear and at major festivals including The Holland Festival, Kurosawa's RAN, received a Highly Commended The Sydney Film Festival, ISCM World Music Award in the prestigious Paul Lowin Orchestral Prize Days 2010 and MATA 2009. She has worked with and in 2006 her setting of Lorca's Sonetos del Amor many ensembles including Slagwerk Den Haag, Oscuro won the Paul Lowin Song Cycle Prize.

63 Rosalind Page has taught aesthetics and history of and performing with his trio, The Alister Spence Trio film sound and music at the University of Sydney, with Lloyd Swanton on double bass and Toby Hall, composition at the Sydney Conservatorium of Music, drums and glockenspiel. The group has recorded five scripted original works for theatre and film and set texts CDs (Rufus Records) and has a growing international in French, Russian, Latin, German, Spanish, Sanskrit, reputation. Their most recent CD, Far Flung (2012) Kalkatungu and Icelandic. International residences received a 4 star review in Jazz Journal (June 2013) have included Visby International Composers' Centre and was listed in Critics Poll 2013 (January 2014). (VICC, Sweden), CAMAC, Marnay-sur-Seine, (France), Alister is a founding member of Wanderlust and a Herhusid (Iceland) and the Leighton Artists' Colony, long-standing member of The Australian Art Orchestra Banff Centre (Canada). (AAO). Alister was also co-leader/composer with the internationally acclaimed group Clarion Fracture Visiting Fellow 2009-10, Creative Practice and Research Zone for 15 years from 1990 – 2005. Unit, School of English, Media and Performing Arts, Faculty of Arts and Social Sciences, UNSW, Rosalind His talents as a composer are well known in Australia. Page was also honoured as 2010 Ian Reed Foundation As well as his own trio and Clarion Fracture Zone, ABC Writer-in-Residence to write, compose and sound Alister composes for Wanderlust and has been design her radiophonic work Extinct. commissioned several times to write for The Australian Art Orchestra and Ten Part Invention. In 2010, The Alister Spence Australian Art Orchestra premiered his first major Alister is recognized as one of Australia’s most original, work, Soak, a suite in 4 movements, at the Melbourne distinctive pianists/composers. With a performing and International Arts Festival. Alister also composes composing career spanning more than 25 years, his music for film and theatre. His theatre credits include wide-ranging talents have led him to perform with and the sound design for Angela’s Kitchen, featuring Paul compose for some of the world’s most respected artists Capsis (2010). in the areas of contemporary music, improvisation, Alister is an Adjunct Senior Lecturer at University film and theatre. of New South Wales in Jazz Performance and In recent years he has devoted his energy to writing Composition.

The Singers

Deborah Conway & Willy Zygier ninth studio album, and are the Director and Artistic Deborah Conway has won ARIA’s, was anointed Director for The Shir Madness Melbourne Jewish Rolling Stone Singer of The Year and has been a Music Festival scheduled for September 2015. significant and eloquent contributor in many capacities to Australian music for over 30 years releasing a dozen The Song Company albums both with 80’s band Do Re Mi, solo and with Susannah Lawergren soprano long time collaborator Willy Zygier. Together Conway Anna Fraser soprano and Zygier have composed and recorded 8 albums; Hannah Fraser mezzo-soprano introduced the groundbreaking house concerts, a marketing method that was quickly adopted across Richard Black tenor the industry; produced the national concert series Mark Donnelly baritone Broad, a performance exploring the talents of female Andrew O’Connor bass/baritone singer-songwriters. In 2009 and 2011 Conway took on The Song Company’s first performance took place in the role of Artistic Director of the Queensland Music July 1984 at the Rothbury Estate winery in the Hunter Festival, and in 2013 Conway and Zygier released Valley, under its founder, Charles Colman. Ill-health Stories of Ghosts to 4-star reviews from every major forced Colman to resign in 1988, and the group became Australian publication. a sextet led by John Grundy until Roland Peelman was Currently Conway and Zygier are working on their appointed in early 1990. Under Roland’s leadership,

64 The Song Company has built an enviable reputation as Tobias Cole countertenor a vocal group of unmatched scope and expertise. Tobias Cole, Artistic Director of Canberra Choral Since 1997, the group has performed at some of the Society, Distinguished Artist in Residence at the world’s most prestigious venues and has been hosted Australian National University, and winner of the by major festivals in Europe, including the Flanders Green Room Award and the Metropolitan Opera Festival, Utrecht Early Music Festival, and the Budapest Young Artist Study Award, has performed throughout Music Festival, and is equally at home singing in Australia, the UK and USA. Nullagyne, Trangy or Barradine. Highlight performances have included Ottone in While its point of reference lies in the vocal consort L'Incoronazione di Poppea, Apollo in Death in repertoire of the 16th and early 17th century, frequent Venice and Oberon in A Midsummer Night’s Dream explorations in medieval music and ongoing creative (Chicago Opera Theater); title role in Philip Glass’ development with composers and artists here and Akhnaten (State Opera of South Australia); title role abroad continue to expand the group’s repertoire in Julius Caesar, Medoro in Orlando, and Oberon and skill base. New and innovative collaborations (Opera Australia); title role in Xerxes (NBR NZ Opera, have taken The Song Company’s unique voice into Victorian Opera) Roberto in Griselda and Athamas in the 21st century, most notably with choreographers Semele (Pinchgut Opera); St Matthew Passion (Opera Kate Champion, Martin del Amo and Shaun Parker Queensland); La Speranza in L'Orfeo (Australian demonstrating the transformative power of dance and Brandenburg Orchestra); title role in Handel’s voice together. Alexander Balus (Canberra Choral Society); Dr Who Spectacular (Melbourne Symphony); Messiah and No other vocal ensemble in the country matches St John Passion (Queensland Symphony); Shawn the quality of The Song Company’s ensemble or the Parker’s This Show Is About People (Sydney Festival); diversity of its repertoire. There are arguably few vocal Purcell’s Dido and Aeneas, John Adams’ El Niño and ensembles anywhere in the same league. Bach’s B minor Mass (Sydney Philharmonia); as well as appearances at the Canberra International Music Alexandra Oomens soprano Festival, Australian Festival of Chamber Music and Alexandra Oomens concluded her Bachelor of Music Woodend Winter Arts Festival. with Honours at the Sydney Conservatorium of Music In 2015 Tobias will return to West Australian Symphony in 2014. She has received a scholarship to undertake Orchestra to perform Carmina Burana, and to Canberra her Masters degree at the Royal Academy of Music, Choral Society as Lychas in Handel’s Hercules. London which she will commence in September 2015.

In February 2015, Alexandra recorded with ARIA Koen van Stade tenor and vocal director award winning pianist and composer Sally Whitwell Koen van Stade studied singing with Peter Kooij and in her most recent album with the ABC. In April 2015 Max van Egmond; Church Organ and Church Music she performed as a soloist in the Brisbane Baroque with Jos van der Kooy; and conducting with Harold Festival in their production of Handel’s Faramondo Lenselink at both Amsterdam Conservatorium and The and Purcell’s Dido & Aeneas. Royal Conservatory of The Hague. He specialised in Gregorian Chant at the Schola Cantorum Amsterdam. In 2014 Alexandra performed the role of Lisel with Pinchgut Opera in their production of Antonio Salieri’s During his studies Koen had already begun working The Chimney Sweep. In 2014 she performed as a as an ensemble member of the most prestigious Early soloist and ensemble member with the Australian Music groups in Europe, including Collegium Vocale Chamber Orchestra in their national tour of the Gent (Philippe Herreweghe) and The Amsterdam project, Timeline. Alexandra has also toured as a guest Baroque Choir (Ton Koopman). He sang more than artist with The Song Company. 2,000 concerts in major international cities on every continent with these ensembles, and recorded over 60 In 2013 Alexandra performed with Pinchgut Opera as CDs and hundreds of radio and television broadcasts. Alinda in Cavalli’s Giasone, and as Thisbe in Lampe’s farcical operetta, Pyramus and Thisbe. In 2003 Koen became a member of the vocal chamber

65 ensemble The Gesualdo Consort Amsterdam (Harry in higher education. His academic research includes van der Kamp). With this ensemble he participated publications on works by Handel and Draghi, vocal in the premiere recording of the complete works of pedagogy and historical performance practice. An Dutch composer Jan Pieterzoon Sweelinck, a 20 CD experienced teacher and lecturer, Paul was a member collection which received an Edison Award from the of the academic staff at the University of Newcastle Queen of the Netherlands. from 2005–2012. He is currently a Lecturer in Music and Convenor of Performance at the School of Music, Koen moved to Australia in 2009. He is an Academic Australian National University, Canberra. Tutor at St John’s College, University of Sydney and Vocal Tutor at Sydney Conservatorium of Music. He Paul appears in the Festival by arrangement with the appears regularly as a soloist and ensemble member of ANU School of Music. Sydney’s leading groups including The Song Company and Pinchgut Opera. David Greco baritone David Greco has established himself as a fine interpreter Paul McMahon tenor of oratorio and opera throughout Australia and Europe. Performing regularly as a soloist with symphony After his studies at The Sydney Conservatorium of orchestras, chamber music groups and choirs Music, he appeared with Dame Emma Kirkby as a throughout Australia, New Zealand and Asia, tenor soloist in her Australian concert tour 2006. He was Paul McMahon is one of Australia’s finest exponents soon invited as the soloist with many distinguished of baroque and classical repertoire, particularly the Australian ensembles, including the Australian Chamber Evangelist role in the Passions of J. S. Bach. Career Orchestra, the Australian Brandenburg Orchestra and highlights include Bach’s Johannes-Passion with the The Australian Haydn Ensemble. Australian Chamber Orchestra under Richard Tognetti; David is equally at home on stage. His first operatic Bach’s Matthäus-Passionunder Roy Goodman; Haydn’s appearance was in Sydney as Papageno in Die Die Schöpfung under the late Richard Hickox, Mozart’s Zauberflöte, and in 2006 performed the role of Mass in C Minor under Masaaki Suzuki and Mozart’s Perichaud with the Sydney Symphony Orchestra in La Requiem with the Hong Kong Philharmonic Orchestra Rondine. In 2010 he made his Italian debut at Teatro under Manfred Honeck. Paul’s collaborations include Comunale Modena in Handel’s Agrippina in the role recitals with the renowned pianists Bengt Forsberg of Pallante. The following year he made his debut with and Kathryn Stott, the New Zealand String Quartet the Festival d'Aix-en-Provence, France, in Alceste, in and the Australia Ensemble. Paul has appeared as the role of Oracle. soloist in the festivals of Sydney, Melbourne and. He was a member of The Song Company from 1997 to He has performed regularly with Australian baroque 2001, touring regularly with this ensemble throughout opera company Pinchgut Opera, and recently made Australia, Asia and Europe. his role debut with for the company as Orestes in Cavalli’s Giasone. Paul accepted a Churchill Fellowship in 2002 to undertake intensive study in baroque repertoire David has been based in the UK for the last two under the tutelage of Marius van Altena at the years, during which time he was a deputy bass Royal Conservatoire in The Hague, Netherlands. with Westminster Abbey Choir. He appeared at Awarded a Griffith University Postgraduate Research Glyndebourne Festival Opera in The Fairy Queen Scholarship, Paul completed his PhD examining the (Purcell), and was invited to tour the UK and France in delivery of baroque performance practice pedagogy Messiah with The Academy of Ancient Music.

66 The Players

The New Zealand String Quartet 2005 Australian Chamber Music Competition, the Helene Pohl violin Quartet has performed throughout Europe, America, Canada and Australia to critical acclaim. International Douglas Beilman violin highlights have included appearances at the Vienna Gillian Ansell viola Musikverein, Berlin Konzerthaus, Amsterdam Rolf Gjelsten cello Concertgebouw, Bremen Die Glocke, Frankfurt Since 1987 the New Zealand String Quartet has been AlteOper, as well as in Paris, Hamburg, Nürnberg, New Zealand’s leading chamber ensemble, with a Luxembourg, Baden-Baden, Utrecht, Vancouver, distinguished record of international touring success. Calgary, San Jose, San Francisco, San Diego, Toronto The current members of the ensemble have been and New York. In Australia, the Quartet has appeared making music together for 20 years. in recital for the Melbourne Recital Centre, Sydney Opera House, Musica Viva Australia and at the Drawing from an ever-expanding repertoire this nation’s premier festivals including the Port Fairy musical tour de force presents diverse and innovative Festival; Perth International Arts Festival; Canberra programmes that embrace everything from the International Music Festival; Huntington Festival and standard quartet repertoire to new music by New the Melbourne International Arts Festival. Zealand composers. They are known for their dynamic performances, their intensity of focus and their The Quartet has been broadcast by ABC Classic FM, engaging style of communication. Much-loved by CBC Canada, SRW2 and HR2 Kultur Germany, Radio audiences at home and around the world, the Quartet France and Public National Radio, The Netherlands. performs over eighty concerts to popular and critical Its recent CD release of Haydn’s Opus 20 Quartets acclaim each year. garnered international praise, UK’s Strad Magazine singling the recording out as ‘recommended’ Career highlights have included highly-praised debuts listening, describing the performances as “technically in London at the Wigmore Hall, in New York at the assured, warm-toned, beautifully blended and ideally prestigious Frick Collection and in Washington’s balanced… they characterise Haydn’s differing moods Library of Congress. In recent years the group has with sharp insights, relish his developing dramatic toured to Canada, the United States and the United languageand make telling use of silence as an Kingdom on a regular basis as well as performing expressive device”. in Mexico, Curacao, Korea, Australia, the United Kingdom, Germany, Poland, the Czech Republic, Ensemble Offspring the Netherlands, Sweden and China. 2012 saw the Claire Edwardes percussion celebration of the New Zealand String Quartet’s 25th anniversary with a New Zealand-wide tour of the Bree van Reyk percussion complete Beethoven string quartets and a week-long Jason Noble clarinet residency of New Zealand arts and music at the Kings James Nightingale saxophone Place in London. Ensemble Offspring is a dynamic Sydney-based The Tinalley String Quartet organisation dedicated to innovative new music. Led by Artistic Directors Claire Edwardes (percussion) and Eoin Anderson violin (guest leader) Damien Ricketson (composer) the virtuoso team of Lerida Delbridge violin musicians boasts broad ranging backgrounds and talents. Justin Williams viola Driven by open-mindedness, Ensemble Offspring’s Michelle Wood cello activities promote diverse and emerging music Australia’s Tinalley String Quartet has established itself practices that expose audiences to new ways of as one of the finest string quartets of its generation. experiencing sound. The group embraces a broad Awarded First Prize at the 9th Banff International and progressive repertoire from seminal chamber String Quartet Competition and Grand Prize at the works of the past 50 years by composers such as

67 Stockhausen and Grisey, to free improvisation and the Sydney-born Amy has spearheaded something of a creation of striking interdisciplinary productions. Past classical saxophone revival, on account of her unique collaborators feature Mike Patton, Theatre Kantanka, take on the genre and her distinctive approach to the Nelly Benjamin, Speak Percussion and James Crabb instrument. She has won several major competitions and upcoming festivals appearances include Sydney which have never been won before by a saxophonist. Festival, Shanghai New Music Week and Canberra Recognized widely for her remarkable and distinctive International Music Festival. tone and exceptional musicality, Amy has performed Dedicated to a living classical music tradition, throughout the world, in such venues as Wigmore Ensemble Offspring has premiered more than 100 new Hall, the Royal Albert Hall and the Sydney Opera works, and through the ‘Noisy Egg Creation Fund’ puts House. She has also performed as a soloist with commissioning at the forefront of its activities with many orchestras including the Philharmonia, London recent new works by Kate Moore, Elena Kats-Chernin Philharmonic Orchestra, Sydney Symphony Orchestra and Felicity Wilcox. In 2015 Ensemble Offspring is and the Vienna Chamber Orchestra. Amy has released proud to celebrate its 20th birthday. five critically acclaimed recordings for Sony Music. She is deeply committed to the development of new Anthony Abouhamad harpsichord; repertoire for the saxophone. Director, Festival Bach Ensemble Anthony Abouhamad is an Honours graduate of the Sydney Conservatorium of Music (SCM) (2009) and Willam Barton didgeridoo the Royal Conservatory of The Hague (2014). He is William Barton is one of Australia’s leading didjeridu a student of Historical Performance, specialising on players and composers and is a powerful advocate for early keyboard instruments. His former teachers the wider perception of his cultural traditions. Born include Dr. Neal Peres da Costa (SCM) and Dr. Ewald in Mount Isa, he was taught the instrument by his Demeyere (Royal Conservatory of Antwerp). uncle, an elder of the Waanyi, Lardil and Kalkadunga In Australia, Anthony has performed with a number tribes of western Queensland. At 17 years, William of ensembles, including the Ensemble 1788, Latitude played his first classical concert with the Queensland 37, The Marais Project and the Sydney Symphony Symphony Orchestra. Orchestra. He was also a member of Musica Viva’s From 2001 William collaborated with Australian Sounds Baroque which toured regional NSW and composer Peter Sculthorpe. Sculthorpe’s Requiem Metropolitan Sydney. In Europe, he has performed (2004), performed by the Adelaide Symphony in a number of festivals and concert series, including Orchestra, the Royal Melbourne Philharmonic and Bach en Combrailles (France), the Utrecht Early Music at the UK’s Lichfield Festival, was composed with Festival and the Dordrecht Bach Festival (Netherlands). William in mind, while Earth Cry, Songs of Sea and Sky, Before his departure he co-founded the Ensemble for Mangrove, Kakadu and From Ubirr were re-arranged Eighteenth-Century Harmony, an ensemble of thirteen to include didjeridu. Other composers William has musicians. worked with include Sean O'Boyle, Ross Edwards, Anthony teaches Basso Continuo and Early Keyboard Philip Bracanin and Liza Lim. William’s compositions Songs of the Mother Country Journey of at the SCM, and has been awarded an APA scholarship include and the Rivers to undertake a Doctorate of Musical Arts. , performed at the Pompidou Centre, Paris in 2006.

Amy Dickson saxophone In 2004 he performed at Gallipoli for the 90th Twice Grammy-nominated Amy Dickson made anniversary of the ANZAC landing and recently history by becoming the first saxophonist and the first in Belgium for the 90th anniversary of the Battle of Australian to win the 2013 MasterCard Breakthrough Passchendaele. William performed at the Beijing Artist of the Year Classic Brit Award with her third album Olympics Opening Ceremony which was broadcast released on Sony Music. It had previously attained to a world wide audience and was one of three the coveted No. 1 position in the UK classical charts. composers for the Australian segment.

68 Oğuz Mülayim ney (Turkish flute) Eoin Andersen violin Mehmet Oğuz Mülayim started his music studies in Eoin Andersen has been guest Concertmaster of the 1993 at the Bakırköy Music Society where he received Konzerthausorchester Berlin and the Swedish Radio training on makams, usuls and repertoire of Turkish Symphony Orchestra, and guest Principal with the Classical Music under the supervision of Mehmet Mahler and Australian Chamber Orchestras, the Güntekin, a member of the Istanbul State Choir. While Zürich Kammerorchester, the London Philharmonic, attending these classes and performing as a chorist in the Bavarian Radio Symphony, and frequently with this society, he began his ney studies at the Caferağa the Rundfunk-Sinphonieorchester Berlin. Medresesi Traditional Arts Center in 1994 with İlyas He was a long-time member of the Mahler Chamber Çelikoğlu, a student of renowned ney players Neyzen Orchestra and the Lucerne Festival Orchestra. As Tevfik and Mesut Paker. a founding member and director of the Mahler After less than a year of ney education, he joined the Chamber Soloists he performed in South America orchestra of both schools as a ney player and had the and throughout Europe. He has made chamber music chance to perform together with celebrated musicians performances at the Aspen, Tanglewood, and Sarasota such as Sadreddin Özçimi, Salih Bilgin, Göksel Festivals in the United States, and at the Il de Re Baktagir and Yurdal Tokcan. He collaborated with Festival in Bordeaux, in Aix-en Provence, in a Pacific numerous classical and sufi music ensembles such Music Festival sponsored tour of Japan, at the Lucerne as Zeytinburnu Music Society, Ümmi Sinan Mystical Festival, and biannually at the ICMF Wassenaar in Music Ensemble. the Netherlands, among others. Most recently he collaborated with Patricia Kopatchinskaja in a Bach He performed both as a chorist and a ney player in Double concerto concert in Zürich. most important concert halls of Istanbul. During his three year stay in Barcelona, he played with oud Appointed Principal 2nd Violin of the Orchester der player Yannis Papaioannou on several Ottoman Music Oper Zürich in 2011, Eoin left that position in 2015 to sessions and he also appeared on a radio programme become Concertmaster of the Melbourne Symphony in Mataró Radio. Orchestra.

Mehmet Oğuz Mülayim holds the degrees of BSc in Computer Science and MSc in Artifical Intelligence. Graeme Jennings violin Graeme Jennings is a former member of the legendary Barbara Jane Gilby violin Arditti String Quartet. He has toured widely Barbara Jane Gilby was the Canberra School of throughout the world, made more than 70 CDs, Music’s first graduate in violin performance and given over 300 premieres and received numerous completed her studies at Boston University with Prof. accolades including the prestigious Siemens Prize Roman Totenberg. She then worked with a number of and two Gramophone awards. Active as a soloist, German Orchestras before returning to Australia in chamber musician, ensemble leader and conductor, 1985 as Concertmaster of the Tasmanian Symphony his repertoire ranges from Bach to Boulez and beyond. Orchestra. As leader of the Tasmanian Symphony Graeme is a member of Australia's internationally Chamber Players she toured Australia for Musica Viva acclaimed new music ensemble ELISION as well as and was the soloist for the ARIA – Award – winning the San Francisco Contemporary Music Players, the recording of Vivaldi’s Four Seasons. Lunaire Collective and the Kurilpa String Quartet.

In 2000 Barbara returned to Canberra to teach at the Graeme has also performed as Guest Concertmaster ANU School of Music and as well as teaching she is an of the Adelaide and Melbourne Symphony Orchestras active orchestral and chamber musician and soloist. She and Guest Associate Concertmaster with the is Concertmaster of the Canberra Symphony Orchestra Sydney Symphony. An alumnus of the Queensland and violinist with the Trigon Ensemble. Barbara lives Conservatorium, he was awarded the Conservatorium with her two cats, Kara and Pitch and aspires to have Medal in 1989 and has also received two Australia the most interesting garden in South Canberra. Council grants.

69 Rebecca Chan violin Annie Gard violin Rebecca Chan was born in Melbourne and grew up Annie Gard began her violin study in primary school in regional Victoria. She has been soloist with many of and soon discovered that she loved playing in Australia’s major orchestras, including the Melbourne ensembles. She joined SYO and progressed through Symphony Orchestra, Australian Chamber Orchestra, the orchestras, leading each before she moved on. As Tasmanian Symphony Orchestra, Adelaide Symphony a student at Conservatorium High School she gained Orchestra, Canberra Symphony Orchestra, Orchestra the Chamber Music prize and was introduced to tango Victoria and Melbourne Chamber Orchestra, and has music. As one of the only established tango musicians also performed as soloist in Europe. in Australia she has travelled to Buenos Aires to study and has played for many world famous tango dancers. Rebecca has been a regular guest concertmaster and associate concertmaster with the Melbourne Symphony Annie also performs on baroque violin, and has led Orchestra, Adelaide Symphony Orchestra, Auckland the Sydney Conservatorium of Music’s Early Music Philharmonic Orchestra and Melbourne Chamber Ensemble since 2010. The Ensemble toured Europe Orchestra and guest principal second with the London in 2011 joining with Stephano Montenari to open Philharmonic Orchestra and the Scottish Chamber the Organ Festival in Aalburg, The Netherlands. In Orchestra. 2014 she was awarded 1st Class Honours from the Conservatorium of Music for her research into Corelli’s As a chamber musician, Rebecca has performed in famous violin sonatas Opus 5. numerous festivals and concert series around Australia and Europe. Rebecca was a member of the Australian Anne Horton violin Chamber Orchestra from 2010-2015. She has been a Anne has established an outstanding reputation both member of the Melbourne Chamber Orchestra since nationally and internationally as a member of the 2008 and the Australia Piano Quartet since 2013. Tankstream Quartet, which won several prestigious awards including First prize in the Cremona and Osaka International String Quartet Competitions. Matthew Greco violin Anne holds a Master of Music Performance from The Matthew began studying violin at the age of 12 in Australian Institute of Music. At the completion of Sydney, his hometown in Australia and currently her Masters in 2004 she undertook further studies in resides in The Hague, The Netherlands. Matthew's the chamber music class directed by the Alban Berg love of the Baroque and Classical violin is nurtured Quartet at the Cologne Hochschule für Musik.During by his employment as a core member, concertmaster, her time as a member of the Australian String Quartet or soloist in some of the world’s leading period Anne has enjoyed successful collaborations with ensembles. During his studies at the Sydney performers including Angela Hewitt, Sarah Macliver, Conservatorium of Music he developed a strong Li Wei, Teddy Tahu Rhodes and Piers Lane. affinity to the baroque violin which he pursued professionally in engagements with some of Australia’s Heather Lloyd viola leading period orchestras, including Orchestra of the Born in Sydney, Heather studied at the Sydney Antipodes and the Australian Brandenburg Orchestra. Conservatorium and Australian National Academy of Music in Melbourne. Heather performs with the Since completing post-graduate studies at The Royale Adelaide Symphony Orchestra, Sydney Chamber Conservatoire in The Hague, Matthew performed with Opera, Australian Brandenburg Orchestra and a variety of international ensembles and festivals in Ironwood and has played Principal Viola with The Netherlands, Germany, France, Italy, Poland, Pinchgut Opera, Victorian Opera and Melbourne Canada, The United States and Australia. Chamber Orchestra. Heather is the Artistic Director Matthew’s approach to music is one governed by his of Australian Chamber Players, a new string orchestra commitment to developing a unique and individual made up of young professional musicians from SA, VIC sound, an ability to be spontaneous whilst performing, and NSW. The ACP has performed in the Elder Hall and a deeper understanding of the performer/audience Perspectives Series and for the Adelaide International connection. Cello Festival.

70 Geoffrey Gartner cello Kyle Daniel double bass Geoffrey Gartner is well known for his dynamic stage Kyle is a Canberra based double bassist who performs presence and extrovert performance style. He has regularly with the Canberra Symphony Orchestra and performed at festivals including the Warsaw Autumn, several other local ensembles. He has performed all ISCM World New Music Days, Sydney Festival and the around Australia, including several seasons with the Roaring Hoofs Festival in Mongolia, and in 2010 made Australian Youth Orchestra and a fellowship with his European conducting debut directing the SBS the Tasmanian Symphony Orchestra. He finished a Youth Orchestra on its tour of Eastern Europe. Geoffrey Bachelor degree in 2011 with first class Honours has completed Graduate degrees in Contemporary and began a PhD candidature in 2012 at the ANU Music Performance at the University of California San focussing on double bass performance and pedagogy. Diego and has been a guest lecturer and performer at He has appeared as a soloist with Musica Di Camera, universities and conservatoriums throughout Australia the National Capital Orchestra, Canberra Youth and the USA. Orchestra and the Limestone Consort, and premiered several new solo works for double bass by young Nowadays Geoffrey performs a repertoire extending Canberran composers. from the baroque to the newest works, many written specially for him. He regularly performs with vocal chamber ensemble, Halcyon, and has made numerous Pete Harden electric guitar appearances with Ensemble Offspring and Sydney Pete Harden is a composer and performer based in Dance Company. He is also a member of the choir at the Netherlands. In 2000 he won the Pro-Arte Guitar St Mark’s, Darling Point. Trio Composition Competition, was a winner at the 2004 Apeldoorn Young Composers Meeting, and has In July and August he tours Australia with Sydney had work featured in the Gaudeamus Music Week. In Dance Company playing ambulatory cello in its October 2011 his work ‘forming a petal from a piece of production, Cacti . metal’ was performed in New York during the SONiC Festival, a celebration of some of the most interesting music written by composers under the age of 40. Rosanne Hunt cello Pete has worked on a number of large-scale music- Rosanne Hunt has played with the Australian Chamber theatre pieces, including Carnation (2005), a work Orchestra, The Australian Brandenburg Orchestra, the for large ensemble and four cars. Recent works have Melbourne Symphony and Orchestra Victoria. She was pursued an interest in information aesthetics, exploring the founding cellist of the Elision contemporary music the beauty of data and its representation. Following a ensemble, and has played in many new music projects period of research in 2011 most pieces have embraced for Chamber Made Opera and the Libra ensemble. Just Intonation tuning, including Beating Patterns I and Recent performing highlights include being part of the Beating Patterns II. Melbourne Ring Orchestra; performing Beethoven on period instruments with Julie Haskell (fortepiano) and Pete is a founding member of Ensemble Klang, with Elizabeth Wallfisch (classical violin); and premiering which he has performed across the Netherlands, and “Out of the Depths” for cello and piano by Adam Yee in France, Germany, Switzerland, Spain, the Czech ( with Eidit Golder, piano). Republic, the United Kingdom and the United States.

She teaches at the University of Melbourne, Monash University and the Victorian College of the Arts Roslyn Jorgensen trombone Secondary School, as well as privately, and has Based in Sydney, Roslyn Jorgensen is a freelance recently introduced string teaching and an orchestra trombonist who completed postgraduate studies to her daughter's state primary school (St Kilda Park at the Canberra School of Music and the Sydney Primary). She also administers, and presents concerts Conservatorium of Music. She performs regularly for, the Kenneth Hunt Memorial Fund ( in memory with the Australian Opera and Ballet Orchestra, nad of her father) which helps young musicians attend has recently toured with the Australian Chamber National Music Camp. Orchestra and Bayerische Staatsoper.

71 Mikaela Oberg flute Orchestra and now holds the full time 3rdclarinet/bass Mikaela Oberg is a historical flute and recorder clarinet position, along with filling in on second and player based in Sydney. She is a member of the principal when required. He has performed in many Australian Brandenburg Orchestra and also performs venues around Canberra, Victoria, Tasmania and New with groups such as the Orchestra of the Antipodes South Wales including performing in master classes as part of Pinchgut Opera, the Australian Haydn run by some of Australia’s most prolific clarinettists. Ensemble, Sydney Philharmonia Choirs and Orchestra Robert has been a participant in AYO and AISOI Seventeen88. programs for the past couple of years performing on both clarinet and bass clarinet, and was a winner in Mikaela recently relocated back to Australia from the 2014 CYO concerto competition Europe where she worked with the Orchestra of the Age of Enlightenment as part of their Anne and Peter Law Experience for Young Players program, and with the Leanne Sullivan trumpet Orchestra of the 18th Century under the leadership of Leanne Sullivan is principal trumpet with the Frans Bruggen. Whilst in Holland, Mikaela completed Australian Brandenburg Orchestra Australia’s finest her Masters degree at the Royal Conservatorium of The period instrument orchestra, made up of leading Hague, studying with Barthold Kuijken. specialists in the performance of baroque and classical music. In Australia she has performed with Kirsten Barry oboe many of Australia’s leading orchestras including the Kirsten Barry is Australia’s leading exponent of West Australian Symphony Orchestra, Tasmanian period oboes. She has been principal oboist with Symphony Orchestra, Sydney Symphony Orchestra the Australian Brandenburg Orchestra since 2001. In and the Australian Opera and Ballet Orchestra.. She 2005 the orchestra’s CD Sanctuary on which she is plays principal trumpet with Pinchgut Opera and has featured soloist won the Best Classical Album at that performed as a soloist with Australian Baroque Brass. year’s ARIA awards.In addition to the ABO, Kirsten also Leanne occupied the position of principal trumpet performs regularly with many groups in Australia and with the Australian Chamber Orchestra for many New Zealand including Pinchgut Opera, Orchestra of years. In 2002, Leanne was awarded the Dame Roma the Antipodes and Ironwood Ensemble. Mitchell Churchill Fellowship for Excellence in the Performing Arts. Under the auspices of the Fellowship, Kirsten regularly appears as guest artist throughout the Leanne returned to Europe to continue studies on region, including Perth Festival Baroque, New Zealand baroque trumpet. Leanne is active in a teaching role Opera and Organs of the Ballarat Goldfields. She and lectures in trumpet at the Sydney Conservatorium regularly plays for various groups across Melbourne of Music. and is a regular player at St John’s Southgate, a Lutheran church that presents the cantatas of JS Bach in liturgical context.Kirsten grew up in Canberra Gergely Mályusz horn and first started learning oboe on a Canberra Youth Gergely Mályusz was born in Hungary. After many Orchestra beginner oboe scholarship. years teaching music in Austria and freelancing with orchestras such as the Vienna Symphony and Vienna Radio Symphony, Klangforum Wien, Les-Musiciens- Robert Scott clarinet du-Louvre-Grenoble (on authentic instruments), Since moving to Canberra in 2011 to study with Wiener Bachsolisten, Volksoper Vienna, he was Australian clarinettist Alan Vivian, Robert Scott has appointed associate principal horn with the been involved with many of Canberra’s recognised Thessaloniki State Symphony Orchestra (Greece). ensembles, inluding Canberra Youth Orchestra, He has premiered numerous works for solo horn in National Capital Orchestra, Duntroon’s Royal Austria and Australia. Military College Band, ANU SoM Orchestra and the In 2010 Gergely moved to Australia where he was ANU Chamber Orchestra. Throughout 2013, Robert active in educating young musicians in the Coffs held a casual position with the Canberra Symphony Harbour area and Armidale. Recently he relocated

72 to Sydney to commence the position of guest foundation member of the Sydney Alpha Ensemble principal/3rd horn with the Australian Opera and and has appeared as guest with other contemporary Ballet Orchestra. He is currently freelancing and music groups - notably Elision, Seymour Group and teaching in Sydney. Ensemble Offspring.

James Nightingale saxophone Claire Edwardes percussion James Nightingale is the alto saxophonist with Internationally acclaimed percussion soloist, chamber Australia’s premier saxophone quartet, Continuum musician and artistic director Claire Edwardes, Sax and has performed regularly as a casual musician has been described by the press as a ‘sorceress of with Sydney’s orchestras since 1993. Australian percussion’ performing with ‘spellbinding intensity’ composers Barry Cockcroft, Paul Stanhope and Stuart and ‘graceful virtuosity’. Her award-winning Greenbaum have dedicated works to him, and his performances combine a theatrical energy with playing is featured on many CDs and recordings. charismatic and original interpretations, bringing to life the varied array of music she performs. James has completed a PhD at the University of Queensland and holds degrees of both Master of Graduating as Student of the Year in 1997 from the Music (Performance) and Bachelor of Music from Sydney Conservatorium of Music (where she now the Sydney Conservatorium of Music. James is the teaches), she went on to win the coveted Symphony President of the New Music Network, an organisation Australia Young Performers Award in 1999. Claire dedicated to the promotion and presentation of new subsequently relocated to the Netherlands to musical works in Australia. undertake a Masters Degree at the Rotterdam and Amsterdam Conservatories. Resident there for seven years, she was the recipient of many international Nigel Croker trombone awards and prizes including first place at the Tromp The early part of Nigel’s career was spent knocking Percussion Competition (2000) and Llangollen around in rock and funk bands in his home town of International Instrumentalist (2001). Perth. In 1981 he moved to Melbourne where he Claire was the 2005 MCA/Freedman Fellow and she played with iconic rock band Hunters And Collectors is the two time winner (2007/2012) of the AMC/APRA before joining the Channel 9 Band working on The Art Music Award for Excellence for her contribution Tonight Show With Don Lane. In 1983 Nigel was to Australian Music. Claire has performed concertos appointed Principal Trombone to the Tasmanian with all of the Australian orchestras as well as Symphony orchestra and occupied that position numerous European orchestras in venues such as the for 6 years before moving to Sydney to freelance, Concertgebouw (Amsterdam) and Queen Elizabeth He appears regularly with AOBO, SSO, ACO and Hall (London). She is the co-Artistic Director of Canberra Symphony Orchestra. successful innovative new music group, Ensemble Nigel has a keen interest in the sackbut and often Offspring and was recently granted an Australia works with Australian Brandenburg Orchestra, Council Music Fellowship. Claire currently balances Pinchgut Opera, Australian Baroque Brass, and her life as a mother of two young girls with a busy the newly formed Orchestra 1788. Nigel was a concert schedule in Australia and abroad.

73 The Speakers

Clive Birch (The Devil, Concert 15)

If my mother is to be believed I was singing before the renowned D'Oyly Carte Opera Company during I could speak and made my debut, albeit not my which I really learned my trade performing 8 shows a professional debut, at the age of 5 on the Sunday week for 48 weeks a year. school anniversary platform of my local Methodist 1983 found me at the National Opera Studio and Chapel singing 'Jesus wants me for a sunbeam'.My thence to Glyndebourne for the next four years. adult voice was discovered during the first year of my During this time I fell in love with Australia and moved B.Mus. course at Huddersfield Polytechnic and I went here in 1987. I found work immediately doing the sort on to win the Gold Medal at the Guildhall School of of music I would never have had the chance of doing Music and Drama in 1977 in the UK, and finally ending up in the most wonderful group of artists in the world. After the usual round of soul-destroying auditions I was given my first professional gig in 1979 as chorus I have now retired from the Song Company after 25 and understudy in a 6 month run of The Mikado in the wonderful years and am currently enjoying time for West End during which I did several performances of myself. My future is in the hands of the Universe and I Koko. This led to two and a half years of touring with look forward to more exciting challenges.

Duncan Driver (Narrator, Concert 22) Duncan Driver is an artistic director and founding has acted in Latin! or Tobacco and Boys, Richard III, The member of Canberra's Everyman Theatre. He directed Laramie Project, Breaker Morant, The Musical of Musicals the company's inaugural production of Someone (The Musical!) and Home at the End. Other recent Who'll Watch Over Me and its subsequent productions acting credits include First Voice in Under Milk Wood of In Cold Light, Richard III, The Ides of March, God and (Canberra Rep) and Demetrius in A Midsummer Night's The Burning, many of which contributed to Everyman's Dream (Centrepiece). Critics' Circle Awards. Duncan has twice won the Canberra Area Theatre Duncan has also directed Les liaisons dangereuses for Award for best actor in a leading role in a play (in Canberra Repertory, One Flew Over the Cuckoo's Nest 2007, for the role of Richard Sherman in The Seven for Radford College and assistant directed Romeo Year Itch and in 2009, for the role of Dominic in Latin! and Juliet for Gungahlin College. For Everyman, he or Tobacco and Boys).

74 The Artist

Imants Tillers: Diaspora (1992) Image courtesy the artist and Roslyn Oxley9 Gallery, Sydney.

Imants Tiller Imants Tillers is a visual artist, writer and curator. Born in Sydney in 1950, Tillers currently lives and works in Cooma, New South Wales. In 1973 he graduated from the University of Sydney with a Bachelor of Science in Architecture (Hons), and the University Medal. Tillers has exhibited widely since the late 1960s, and has represented Australia at important international exhibitions, such as the Sao Paulo Bienal in 1975, Documenta 7 in 1982, and the 42nd Venice Biennale in 1986.

Major solo surveys of Tillers’ work include Imants Tillers: works 1978 – 1988, Institute of Contemporary Arts, London (1988); Imants Tillers: 19301, National Art Gallery, Wellington (1989); Diaspora, National Art Museum, Riga, Latvia (1993); Diaspora in Context, Pori Art Museum, Pori, Finland (1995); Towards Infinity: Works by Imants Tillers, Museum of Contemporary Art (MARCO) in Monterrey, Mexico (1999); Imants Tillers: one world many visions, National Gallery of Australia, Canberra (2006); The Long Poem, Lawrence Wilson Art Gallery, Perth (2009).

Tillers has also exhibited in numerous group exhibitions around the world, including An Australian Accent, PS1, New York (1984); Antipodean Currents, Guggenheim Museum, Soho (1995); Australian Perspecta (1981,1987- 89); The World Over/Under Capricorn: Art in the Age of Globalisation, City Gallery Wellington, New Zealand and Stedelijk Museum, Amsterdam (1996); the Biennale of Sydney (1979, 1986, 1988 and 2006); Kunst Nach Kunst (Art After Art), the Neues Museum Weserburg, Germany (2003); Prism, Bridgestone Museum of Art, Tokyo (2006).

Tillers has been the recipient of numerous awards and commissions, such as the Osaka Triennale Prize (Gold in 1993, Bronze in 1996, and Silver in 2001), and the inaugural Beijing International Art Biennale Prize for Excellence (2003). Major commissions include the Federation Pavilion, Centennial Park (1985-87); the Founding Donors Painting, Museum of Contemporary Art, Sydney (1991), and two key sculptures for Sydney Olympic Park (2002). Tillers has been a trustee of the Art Gallery of New South Wales since 2001. In 2005 he was awarded a Doctor of Letters honoris causa for ‘his long and distinguished contribution to the field of arts’, by the University of New South Wales. In 2012, Tillers was awarded the Wynne Prize for landscape painting.

75 The Young Artist Festival Fellows - YAFF Sprogis Woods Smith YAFF: Australian National Academy of Music YAFF: Sonya Hollowell soprano (NSW) David Shaw flute (ACT) Grace Leonard soprano (NSW) Emmanuel Cassimatis oboe (NSW) Melissa Gregory alto (QLD) Amy Whyte clarinet (NSW) Padraic Costello countertenor (Hawai’i) Christopher Martin bassoon (VIC) Samuel Mitchell countertenor (QLD) The ANAM String Quartet: Owen Elsley tenor (NSW) Charlie Westhoff violin (NSW) Emma Zhuang violin (NSW) Leighton Triplow tenor (VIC) Eli Vincent viola (QLD) Gregory Bannan baritone (WA) Daniel Smith cello (QLD) Molly Collier-O’Boyle violin (QLD) Andrew Leathwick piano (NZ) Esther Wong violin (NSW) Alex Raineri piano (QLD) Caleb Wong cello (NSW) Adam McMillan piano (QLD)

Moorambilla Voices (NSW) Director: Michelle Leonard

Dorian Abel Joshua English Tully Ritter Declan Stanford Ryan Bampton Jade Gardiner John Robinson Ruby Belle Stingemore Hannah Barker Miles Ghiggioli Callum Robinson Artie Taylor Zarek Berger Arcail Gilson Wakeling Max Robinson Emily Tonkin Thomas Bradley Amabella Harvey Sofia Robinson Lexi Traynor Josh Bunting Delta Hawkins Richardson Grace Robinson Opal Trumper Ben Butcherine Grace Johnson Kyhnan Samuelsson Bella Watts Sophie Cook Otto Kuhn Charlie Saunders Jade Widdison Ehren Donnelly Abbie Mitchell Joshua Scott Bailey Williams Phoebe Ellis Heidi Purvis Narelle Shillingsworth Johnathon Woods Charlotte Ricardo Preston Smith

Vocal Fry (ACT) Director: Tobias Cole

Asha Aikman Isabelle Chittenden Vanessa Hooley Tamara Needham Charlie Barnes Bernice Chua Eve Hudson Kaitlin Nihill Ruth Begbie Gabriel Cole Harry Jones Elise Palethorpe Kirsten Busby Marcel Cole William Klep Laura Rainey Caleb Campbell Violet Cully Jasmine Leong Isaac Witrzens Finn Campbell James Gardner Jessica Manclark Peter Gedeon Tristan Millar

76 Woden Valley Youth Choir (ACT) Conductor: Sally McRae

Sophie Barton Belinda Garcia Phoebe Lupton Rebekah Rose Isabel Cruz Clare Philippa Graham Mariko McKinnon Sierra Thompson Grace D'Amico Sophie Hummelstad Nathan Pearson Lydia Walters Elizabeth de Souza Ruby Kim Lucy Pembroke Leilani Wegener Zoe Dransfield Ethan Lee Christina Pilgrim Abigail Worswick Bridget Fredericks Georgia Leiper Misty Purtell Miho Yamazaki Kirsten Leung Lara Robertson

Canberra Youth Orchestra Conductor: Rowan Harvey-Martin

Laura Lay Leader John Leung violin 2 Hiroki Hunter viola Georgina Chan violin 1 Jasper Li violin 2 Elise Kellett viola Sarah Crawford violin 1 Celia Martin violin 2 David Cowley cello Olina Goodman-Viereck violin 1 Kathryn Soen violin 2 Nicky Philips cello Ruth Kravis violin 1 Laura Tough violin 2 Rachel Towson cello James Russell violin 1 Lisa Zhu violin 2 Ben Drury double bass David Yang violin 1 Rebecca Davies viola Tarran Savage double bass Hamish Francis percussion

Jerrabomberra Rotary is proud to support the Canberra International Music Festival

www.jerrarotary.org.au

77 2015 Festival Team Roland Peelman, Artistic Director Kathleen Grant, General Manager Dan Sloss, Festival Manager Hanna-Mari Latham, Office Manager Rachel Walker, Artistic Administrator Gabrielle Hyslop, External Venues Producer Geoff Millar, Publications Editor Miranda Boorman, Publicist Liz McKenzie, Volunteer Coordinator Jenny Harper, Billeting Coordinator Nathalie O’Toole, Transport Coordinator Caroline Beckman, Dinner Coordinator Elyse McDonald, Project Leader Alex Raupach and Jack Hobbs, Project Assistants Ben Birt, Hugh Coffey and Simon Peart, Production and Stage Managers Peter Hislop, William Hall and Anthony Browell, Photography Jon Holden, Videography Kimmo Vennonen, Audio Recordings Sam Behr, Graphics Designer

Pro Musica Board: Dr Arn Sprogis (President) Dorothy Danta (Vice-President) Bev Clarke (Vice-President) Will Laurie (Treasurer) Govert Mellink (Secretary) Donna Bush Dr Royston Gustavson Anna Prosser

Volunteers: Andrew Blanckensee, Barbara Jesiolowski, Debra Nowell, Gabriela Samcewicz, Gayle Lander, Gini Hole, Heather McKean, Helen Cory, Helene Stead, Jackie Stepanas, Jan Edwards, Jan O'Connor, Jennifer Whipp, Kate King, Lauren Sutherland, Leonie Hunt, Maggie White, Maureen Boyle, Melissa Crowther, Merrilyn Crawford, Nathalie O’Toole, Oliver Raymond, Pamela McKay, Raffaele Piccolo, Zhiran Zhang

78 Billeters: Andrew Blanckensee and Julie Matthews, Anna and Bob Prosser, Barbara and John Inglis, Bev Clarke, Bill McIntyre and Libby Hewson, Bridget Middleton, Carol Taylor and David Moore, Chris and Rieteke Chenoweth, David Uren, Debbie Cameron, Elspeth Humphries, Eric Pozza and Megan Curlewis, Frances Rose and Ross Dunn, Gabrielle Tryon, Govert and Lillian Mellink, Jane Thompson, Jenny and David Harper, John Studholme, Judy and Peter Biggs, Judy McKenna, Kate Wall, Maggie White, Margaret Bromley and John Kennard, Margot Woods and Arn Sprogis, Marjorie Lindenmayer, Mary and Michael Tatchell, Mary and Philip Constable, Mary Martin, Marya Glyn-Daniel, Pam and Allan O'Neil, Peggy Horn, Peronelle and Jim Windeyer, Peta Gould, Peter and Margaret Callan, Robert Goodrick, Rupert and Janet Summerson, Sue Hall, Tim and Chris Kain, Vicki Moss

Special thanks to: ANU School of Music: Prof. Peter Tregear, Kate Bisshop-Witting, Alexander Hunter Australian National Academy of Music: Paul Dean, Matt Hoy National Capital Authority: Carlia Sorrentino The National Gallery of Australia: Mirah Lambert, Edith Young, Bill Hoorweg The National Library of Australia: Kathryn Flavelle, Robyn Holmes, Johannah Wilson, Brendan Dahl The High Court of Australia: Andrew Phelan, Karina Edwards, Ben Wickham The Australian National Botanic Gardens: Dr Judy West, Jennifer Salkeld, Julie Akmacic, Stephen Speer Mount Stromlo Observatory: Brad E. Tucker The Song Company: Irene Hendricks Ainslie and Gorman Arts Centre: Joseph Falsone Shine Dome: Mitchell Piercey Canberra Girls’ Grammar School: Anne Coutts, Nikki Hoitink, Alex King Telopea Park School: Kerrie Blain, Tom Kobal, Robin Egerton, Mary Ryan Turkish Embassy in Canberra: Ramazan Aydemir, Ece Yılmaz, Gülseren Çelik Carey Beebe Harpsichords: supplier of the continuo organ 666 ABC Canberra: Alex Sloan Megalo Print Studio + Gallery: Megan Jackson Canberra Glassworks: Beverly Growden TryBooking: Delma Dunoon Wesley Music Centre: Liz McKenzie Music for Everyone: Canberra Youth Orchestra

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.

79 Acknowledgements – Concert and Artist Support

The 2015 Festival owes a great debt of thanks to the following Diplomatic Missions and Corporate Partners for their sponsorship of concerts in this Festival: H.C. Coombs Fellow ANU Ensemble in Residence Embassy of the Federal Republic of Germany Andrew Farriss Embassy of Israel (INXS) The Noise Embassy of the United States of America ACTEW Hardwickes Canberra Times ANU School of Music and Limelight Magazine Canberra Weekly Friends of the School of Music Palace Electric City News Tim Benson

Without the support of people within the Canberra community it would not be possible to present this Festival each year. This financial support directly contributes to the quality and creativity of our artistic program. Our warmest appreciation is owed to the following for contributing so generously to the 2015 Festival:

Concert 1 Marjorie Lindenmayer Concert 13 Gail Ford Concert 2 David Taylor Concert 14 Dianne and Brian Anderson Concert 3 Betty Beaver Concert 15 Jim and Peronelle Windeyer Concert 4 Koula Notaras and Concert 16 Judith Healy Emmanual Notaras - In memory of Tony McMichael Concert 5 Marjorie Lindenmayer Concert 17 Anna and Bob Prosser Concert 6 Margaret Saboisky Concert 18 Margaret & Peter Janssens Concert 7 Jim and Peronelle Windeyer Concert 19 Christine Goode Indigenous Australian Historically Informed Concert 8 Barbara Campbell and Concert 20 Meredith Hinchliffe Jennie and Barry Cameron Concert 21 Christopher and Rieteke Chenoweth Music: Stephen Wild Performance Practice: Concert 9 Claudia Hyles and and Robin Gibson Anna Freeman Mary Louise Simpson Concert 22 Marjorie Lindenmayer Composition: Concert 10 Donna Bush Concert 23 Rosanna Hindmarsh George Dreyfus Concert 11 Muriel Wilkinson and June Gordon Concert 24 Major General the Hon. Michael Jeffrey Concert 12 Bev and Don Aitkin and Mrs Marlena Jeffrey Australian Classical 50th Anniversary The Sprogis Woods Smith YAFF are supported by Arn Sprogis and Margot Woods and Ann and Roger Smith Music: Robyn Holmes The Australian National Academy of Music YAFF are supported by Randy Goldberg and Warren Curry Weekend Celebrations: William Barton is supported by Will Laurie Digital Sonic Arts: September 19 & 20 Bernice Chua is supported by Marjorie Lindenmayer David Worrall SAVE THE DATE! Amy Dickson is supported by Debbie Cameron David Greco is supported by Peter Wise Maria Mazo is supported by Leonie Hunt Lisa Moore is supported by Susan and David Chessell Alex Oomens is supported by Meryl Joyce Daniel Pan is supported by Marjorie Lindenmayer Roland Peelman is supported by Anna and Bob Prosser ANU School of Music Alister Spence is supported by Carolyn Philpot Leanne Sullivan is supported by Lyndall Hatch for information on upcoming events Koen van Stade is supported by Lou and Mandy Westende music.anu.edu.au The Song Company are supported by Anna Prosser’s Fundraiser

80

Ad - CIMF.indd 1 31/03/2015 4:55:49 PM H.C. Coombs Fellow ANU Ensemble Andrew Farriss in Residence (INXS) The Noise

Indigenous Australian Historically Informed Music: Stephen Wild Performance Practice: Anna Freeman Composition: George Dreyfus Australian Classical Music: Robyn Holmes 50th Anniversary Weekend Celebrations: Digital Sonic Arts: September 19 & 20 David Worrall SAVE THE DATE!

ANU School of Music for information on upcoming events music.anu.edu.au

Ad - CIMF.indd 1 31/03/2015 4:55:49 PM 82