ONE & MANY SARA MACLIVER WITH WIND QUINTET PLUS

Presented in association with Tura New Music Perth Festival acknowledges the Noongar people who continue to practise their values, language, beliefs and knowledge on their kwobidak boodjar.

They remain the spiritual and cultural birdiyangara of this place and we honour and respect their caretakers and custodians and the vital role Noongar people play for our community and our Festival to flourish. Stay COVID-19 safe

1.5m

Physical distancing Wash your hands

Stay home if you are sick Register your attendance

For latest health advice visit healthywa.wa.gov.au/coronavirus SARA MACLIVER WITH WIND QUINTET PLUS

YANDILUP / NORTHBRIDGE HACKETT HALL, WA MUSEUM BOOLA BARDIP M T W T F S S FEBRUARY 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28

Fri - Sun 6pm Duration 60mins CONTENTS CONTENTS CONTENTS

WELCOME WELCOME 6 Welcome 9 Credits

CREDITS 10 Repertoire 11 A Note on the Repertoire

BIOGRAPHIES

REPERTOIRE 18 Sara Macliver 19 Wind Quintet Plus 21 Tura New Music BIOGRAPHIES ACKNOWLEDGEMENTS 22 Perth Festival Partners 23 Perth Festival Donors ACKNOWLEDGEMENTS

* Just tap the interactive tabs on the left to skip to a specific section CONTENTS WELCOME CREDITS

Image: Jess Wyld

REPERTOIRE I grew up in a house filled with classical music, books and bones – objects emblematic of my parents’ voracious listening and reading habits and my

BIOGRAPHIES dad’s work as a veterinary anatomist. I was intrigued by the beauty inside some of those antiquarian anatomy books, made aware of evolutionary secrets revealed by some of those bones and inexorably drawn towards the strange power inside the music ACKNOWLEDGEMENTS that emanated from the turntable in the disused fireplace. I realise now that the One & Many chamber music series in many ways replicates those fond memories, as we sit listening in this newly re-imagined space of Hackett Hall in WA Museum Boola Bardip. We sit beneath bookcases that once held libraries of information, below a whale skeleton whose stories are etched into its bones, listening to music written

CONTENTS last week and last century. We are in a time where subjective opinions can seem to matter more than objective truths but I consistently WELCOME return to one idea – that we are at our best when we operate as a collective of supportive beings, following empathic instincts. Clearly

CREDITS the past year has stretched our ability to operate as a community, with isolation both here and elsewhere stretching those bonds. But here, in this celebration of communal music- REPERTOIRE making that starts with solitude but expands to include us all, I trust that the serenity and beauty of the offerings and the environment will

BIOGRAPHIES prove to be a salve for our individual and collective souls. These concerts feature such extraordinary musicians, many of whom are lifelong friends, who consistently bring contemporary

ACKNOWLEDGEMENTS vitality to this music, and I thank you for joining us in celebrating their artistry.

IAIN GRANDAGE PERTH FESTIVAL ARTISTIC DIRECTOR Image: Jess Wyld LOOKING FOR SOMETHING TO DO AFTER THE SHOW? Stick around Perth Cultural Centre and enjoy City of Lights. Immerse yourself in the projections, catch some tunes at STC Courtyard Sessions, drop into a local bar for a post-show drink or treat yourself to a tasty bite at one of Northbridge’s many eateries. CREDITS CONTENTS PERFORMED BY Sara Macliver Soprano

Wind Quintet Plus WELCOME Flute Diane Riddell Oboe Stephanie Nicholls Clarinet Catherine Cahill CREDITS Bassoon Joanne Littlely Horn Wendy Tait Percussion Paul Tanner REPERTOIRE BIOGRAPHIES ACKNOWLEDGEMENTS REPERTOIRE CONTENTS Hildegard von Bingen (1098 – 1179) Ave Generosa Transcribed by Stephanie Nicholls JS Bach (1685 – 1750) WELCOME ‘Wie zittern und wanken der Sünder Gedanken’ from Herr, gehe nicht ins Gericht mit deinem Knecht, BWV105

CREDITS WA Mozart (1756 – 91) Serenade in C minor, KV 388 I. Allegro II. Andante

REPERTOIRE IV. Allegro Arranged by David Walter Robert Schumann (1810 – 56) Im Rhein, im heiligen Strome from Dichterliebe BIOGRAPHIES Arranged by Iain Grandage Joseph Canteloube (1875 – 1957) Five Songs of the Auvergne I. Malurous qu’o uno fenno II. Baïlèro III. Lou coucut ACKNOWLEDGEMENTS IV. La Delaïssádo V. Chut, chut Transcribed by Chris Allan Rebecca Erin Smith (b. 1989) Black Giants Commissioned by Tura New Music Richard Strauss (1864 – 1949) Morgen! Transcribed by Paul Tanner ACKNOWLEDGEMENTS BIOGRAPHIES REPERTOIRE CREDITS WELCOME CONTENTS REPERTOIRE A NOTE ONTHE breast’ and onanother occasion she inflamed and my whole my wholeheart and permeated my wholebrain, and light of exceedingfiery brilliance came instance, ‘Heaven was openedand a extremely powerful ones. Once, for but in her40sbegan experiencing experienced visions from an early age, in the German Rhineland. Shehad Rupertsberg and Eibingen near Bingen 1150 established herown abbeys at became prioress and after around and write Latin. Eventually Hildegard where an oldernuntaught herto read in an enclosed Benedictine monastery, minor-aristocratic parents placed her When she was 14years old,Hildegard’s ACKNOWLEDGEMENTS BIOGRAPHIES REPERTOIRE CREDITS WELCOME CONTENTS for specific occasions: dance music, aristocratic patrons –and was written of talent – especially to potential time is designed to display his breadth composer. Most ofhis music from this to establish himself as afreelance Mozart arrived in Vienna in 1781 own torments.’ itself, tearing ‘through itself apart its simultaneously accuses and excuses how the sinner’s troubled conscience obbligato, dispassionately describes accompanied by aplangent oboe der Sünder Gedanken’ the soprano, grace. In ‘Wie zittern undwanken and its utter dependence ondivine unworthiness ofthe human soul theme is essentially that ofthe pessimistic, Lutheran one;its transcendental vision with amore contrasts Hildegard’s joyful, in Leipzig, Bach’s Cantata BWV105 Composed in 1723for the Thomaskirche ecstatic heights. melody that unspools to more and more images oflight and growth, with a of joy celebrating the in Virgin Mary Generosa chants that set herown poems. Ave largely ofelaborate unaccompanied a saint in 2012. Hercompositions consist and music; shein was writing, art made creativity, she expounded hertheology multitude offalling sparks’. In asurge of beautiful, and with itan exceeding ‘saw agreat star, most splendid and is a‘celestial symphony’

ACKNOWLEDGEMENTS BIOGRAPHIES REPERTOIRE CREDITS WELCOME CONTENTS procession. Thepoet moves inside to solemn dotted rhythms ofaceremonial which is depicted musically with the and enters the great Gothic building, Cathedral reflected in the Rhine’s waves holy stream) the poetsees Cologne im heiligen Strome’ (In the Rhine’s beloved. In the sixth song, ‘Im Rhein, and rapid, bitter disillusion with his the rise and fall ofthe poet’s infatuation poems by Heinrich Heine that dramatise Dichterliebe (APoet’s Love)year, sets of song’. Written in aweek in May that The year 1840was Schumann’s ‘year three today. movements ofwhich we willhear and for its restriction to amere four Mozart often used for intense emotion, notable for its use ofCminor, akey in-house wind band. This work is in the capital to maintain an among the resident Bohemian nobility which even the Emperor took up, entertainment, itreflects a fashion, appropriate scoring for outdoor the Salzburg works. As well as being for wind octet, different is very from and winds. Serenade K388, originally for relatively large groups ofstrings dance-based movements and scored Salzburg, containing upto nine separate numerous serenade-type works in festivities in the outdoors. Mozart wrote frequently accompanied evening pieces such as Serenades, which chamber works for the salon and ACKNOWLEDGEMENTS BIOGRAPHIES REPERTOIRE CREDITS WELCOME CONTENTS who is met in the fields by herlover … sent by herfather to tend cattle, but comes on.‘Chut, is sung chut’ by agirl the Rock, aloneand weeping as evening be described as TheShepherdess on Delaïssádo’ (The abandoned girl) might and sounding like trumpets, while ‘La singer imagines the birds wearing bells song ofthe eponymous cuckoo, as the other. ‘Lou is coucut’ dominated by the which they sing their longing for each girlfriend are separated by a river across famous ofthe songs, ashepherd and his best ofall.In ‘Baïlèro’, oneofthe most the singer concludes that freedom is can’t live without them’ theme, though variation onthe ‘can’t live with them/ (Unhappy is hewhohas awife) is alively verses, ‘Malurous qu’o unofenno’ characteristic oboesolo between One ofthe dance-songs, with a the openair; dancing songs’. songs; songs ofcelebration, songs for about love, marriage, children; work ‘on history orlegend; anecdotes; songs dialect that were based, as hewrote, a huge numberofsongs in the local Canteloube collected and orchestrated from metropolitan France for centuries, castles that had beenlargely isolated mountains, Romanesque churches and In his native Auvergne, a land of his beloved. who bears an uncanny resemblance to stand before aportrait ofthe Virgin, ACKNOWLEDGEMENTS BIOGRAPHIES REPERTOIRE CREDITS WELCOME CONTENTS Scot whohad lived in Germany from MackayJohn Henry (1864– 1933), a Morgen! Strauss’ single most famous song, visual landscape. moments ofcloseness set against avast of intimacy in this piece, creating organisations to manipulate the sense is manoeuvred through distal tonal the edge oftonality. Asingle chord ambiguous environment operating at incidental harmony in arhythmically relatively simple melodic lines to create and texture, Smith’s music layers ofcolour,importance gesture, narrative overhead in Hackett Hall. Rooted in the the bluewhale skeleton suspended explores the of‘Otto,’ immensity moonlight. Through this text Smith the silver and white ofreflected the sea –deepblueand black water, delicate evocation ofthe colours of Södergran (1892–1923),with its Swedish-speaking Finnish poetEdith Black Giants sets Nocturne multimedia textile graphic scores. utilising traditional notation alongside instruments and the human voice, with large ensembles ofacoustic present piece, she works primarily extensively here and abroad. As in the works that have beenperformed in collaborative media and concert interdisciplinary whospecialises artist Australian composer and R ESmith is an award-winning , (Tomorrow), sets a text by , by the ACKNOWLEDGEMENTS BIOGRAPHIES REPERTOIRE CREDITS WELCOME CONTENTS GORDON KERRY ©2021 image offulfilled love. reunited. Strauss turns itinto aglowing dealing with the promise oflovers being Morgen! of the above was widely tolerated. and homosexuality atatime whennone anarchist politics, experimental verse early childhood and devoted himself to is afairly conventional lyric CONTENTS WELCOME CREDITS

REPERTOIRE BIOGRAPHIES BIOGRAPHIES ACKNOWLEDGEMENTS CONTENTS WELCOME CREDITS

REPERTOIRE SARA MACLIVER

Sara Macliver is one of Australia’s most popular and versatile artists

BIOGRAPHIES and is regarded as one of the leading exponents of repertoire. She is a regular performer with all the Australian symphony orchestras as well as the Perth, Melbourne and Sydney Festivals, Pinchgut , the Australian Chamber Orchestra and Australian ACKNOWLEDGEMENTS Brandenburg Orchestra, Musica Viva, and a number of international companies. Sara records for ABC Classics, with more than 35 CDs and many awards to her credit. She has been awarded an honorary doctorate from the University of Western Australia in recognition of her services to singing. CONTENTS WELCOME CREDITS

REPERTOIRE WIND QUINTET PLUS

BIOGRAPHIES Wind Quintet Plus (WQ+) is a leading ensemble in the West Australian musical landscape, recognised for dynamic performances, eclectic programming, imaginative collaborations and outreach endeavours that connect with audiences of all ages and backgrounds. ACKNOWLEDGEMENTS Combining flute, oboe, clarinet, bassoon and horn with percussion, WQ+ perform music from diverse styles with colour, texture, drive and groove. They are committed to performing new works and reimagined repertoire by both established and emerging composers and arrangers. Music education and musical outreach for all is at the core of the Wind Quintet Plus mission. During 2020 when it was

CONTENTS not possible to perform in regular concert venues, WQ+ took live music to the people, presenting house concerts and street performances in

WELCOME local communities to an enthusiastic response. WQ+ regularly perform engaging and interactive education concerts for primary school-aged children, and recently recorded wind CREDITS quintet parts for the new children’s ballet The Adventures of Snugglepot and Cuddlepie for West Australian Ballet, which premiered at the 2020

REPERTOIRE AWESOME International Arts Festival to critical acclaim. BIOGRAPHIES ACKNOWLEDGEMENTS TURA NEW MUSIC

CONTENTS When Tura New Music was founded back in 1987, it was with the same vision they have today – to transcend the borders of mainstream cultural practice by embracing risk and the creative WELCOME potential it releases. Within that, the company creates a legacy by providing an arena for the constant development of globally significant artworks that CREDITS reflect Australia’s energy, diversity and sense of place. REPERTOIRE

Tura New Music’s annual program is supported by the State Government through the Department of Local Government, Sport, and Cultural Industries, in association with Lotterywest and The Australian Government through the Australia Council, its arts funding advisory body. BIOGRAPHIES ACKNOWLEDGEMENTS PERTH FESTIVAL PARTNERS

Founder Principal Partner CONTENTS WELCOME Festival Partner Civic Partner CREDITS

Visual Arts Program Partner Community Partner REPERTOIRE Lead Media Partner Production Partners

BIOGRAPHIES Leadership Partners Premiere Partner

Major Partners ACKNOWLEDGEMENTS

Public Funding Partner

Supporting Partners

See Subiaco Escala Partners Boffins Books Vision Australia Radio RTRFM Shadow Wine Bar Hertz Hadiqa Alex Hotel The State Buildings Giniversity The Backlot The University Club of WA

With thanks to WA Museum Boola Bardip board, management and staff. ACKNOWLEDGEMENTS BIOGRAPHIES REPERTOIRE CREDITS WELCOME CONTENTS Major Donors Trusts and Foundations Leadership Partner MICHELA FINI MICHELA will to sustain the future ofPerth Festival. Our Legacy Circle recognises bequestors whohave in their agift left LEGACY CIRCLE everyone. wellbeing, whilst ensuring experiences artistic are accessible for experiences to young people and ourlocal to community assist their Our Creative Learning &Engagement Fund brings meaningful artistic CREATIVE LEARNING &ENGAGEMENT voice to the people,artists and stories ofthis place. to this fund enable us to develop and present Festival works that give works over the four-year tenure Director. ofourArtistic Donations Our Commissioning Fund the supports development ofnew Festival COMMISSIONING FUND specific, ambitious Festival performance each year. Our Medici Donors make an annual donation towards enabling a MEDICI alongside the world’s greatest thinkers, performers and creatives. and providecommunity local artists with to the opportunity work a direct investment in enabling us to bring excellence to our excellenceartistic across allwe do. Donations to this fund are The Festival Circle giving program provides ongoing to support FESTIVAL CIRCLE $20,000 perannum. the WA sector arts for aminimum ofthree years with adonation of with ourChair, the Festival’s support long-term strategy ofgrowing Our Chair’s Circle is acommitted network ofDonors who,along CHAIR’S CIRCLE commitment to give $50,000perannum. the development artistic ofthe Festival through athree-year Our Festival Patrons generously lead the way in supporting PATRONS perthfestival.com.au/support-us You can view the full list ofourdonors online at We couldn’t doitwithout your amazing support. THANK YOU TO ALLOURDONORS ADRIAN AND

CARLA MARKS CARLA MCCLEMENTS FOUNDATION