ANAM 2012 AUSTRALIAN NATIONAL ACADEMY OF MUSIC OCTOBER NOVEMBER december The rigours of establishing and maintaining a performing career are daunting. Modelled on the world’s best performing academies, the Australian National Academy of Music was founded in 1994 with the aim of nurturing our country’s most gifted young classical musicians and preparing them for Where Are successful lives as performers. For almost nineteen years, ANAM has been matching young talents with leading teachers and giving them the performance opportunities that are vital to their growth. We like to follow their progress, and congratulate them on their They Now? achievements.

Christopher Cartlidge (viola) Phoebe Russell (double bass) Liisa Pallandi (violin) Sarah Kim (cello) Rebecca Proietto (cello) Ashley Smith (clarinet) Alumnus 2010 Alumnus 2012 Alumnus 2012 Alumnus 2011 Alumnus 2011 Alumnus 2010 Principal viola (on trial), Hochschule für Musik Hanns Eisler 2012 European Tour, Musikhochschule Freiburg Stony Brook University (USA) Harold Mitchell Travelling Melbourne Symphony Orchestra () Casual, Berlin Australian Chamber Orchestra (Germany) Scholarship recipient Philharmonic Orchestra

Aura Go (piano) Kristian Winther (violin) Lucy Warren (violin) Adam Mikulicz (bassoon) Douglas Rutherford Jackie Hanson (bassoon) Alumnus 2009 Alumnus 2009 Alumnus 2011 Alumnus 2008 (double bass) Alumnus 2008 Doctor of Music, Australian String Quartet Sydney Symphony Fellow 2012 Assoc. Principal bassoon, Alumnus 2011 Principal Contrabassoon, Sibelius Academy (Finland) West Australian Sydney Symphony Fellow 2012 Adelaide Symphony Orchestra Symphony Orchestra

Edwina George violin

our students need ANAM Quartetthaus grew from a simple idea: to ANAM Quartetthaus returned in 2012 as part of an SEATS AND stands conceive, design and build a place that is shaped initiative of Arts Vitoria to invigorate an abandoned at every turn by the music to be performed within lot behind the Arts Centre in Southbank. From jazz it; a place unencumbered by the ‘rhetoric’ of to acoustic music, the 52 seat venue allows the We have never owned enough orchestral traditional concert presentation, just as intimate audience to see the musicians from all angles. chairs and music stands to fit out all of as the musical form of the string quartet. This intimacy results in no member of the audience our rehearsal studios and a full orchestral Commissioned by ANAM and created by being more than two meters from the performers. seating. We are asking you to help. bluebottle, ANAM Quartetthaus is part design The proximity of the listener to the performer Our Seats & Stands campaign’s aim is installation, part architecture, part music; a listening accentuates the visceral theatre of live – string or to purchase 80 new chairs and music place, a celebration of intimate performance. other acoustic – performance. stand – one for each student and teacher. ANAM An orchestral chair and stand cost $500 Ever since the 18th century the string quartet ANAM Quartetthaus © Design by bluebottle, per set. has occupied a unique place in the minds of supported by Ian Potter Foundation and composers. It has provided the formal mechanism Philip Bacon AM. To enable ANAM to deliver its current for the most intimate and often intense exploration professional performance program of The 2012 of ANAM Quartetthaus is of technical and musical thoughts. This musical gift concerts and activities, without spending supported by the Victorian Government through ANAM Quartetthaus offers its small audience, was INVITES YOU valuable time finding and collecting chairs Arts Victoria. and stands every time we rehearse... best described by The Australian in 2011: we need your support. ‘Complementing the physical intimacy is a Donors will have the opportunity to have direct, refreshingly honest acoustic assisted by their name engraved on a brass plate a low ceiling array of angled radial blades and TO TAKE A SEAT and affixed to the back of ‘their’ chair. So give a seat and a stand, and let’s make the balance between light wooden frame, fabric some music! and human bodies. Soft lighting and the resolute Part design installation, focus of the ANAM musicians completed the All donations over $2 are tax deductible. ANAM “part architecture, part sense of ritual immersion, the audience tuning in so intently that the usual concert hall plagues of music; a special listening coughing and shuffling all but disappeared within place, a celebration of STANDING this hushed focus.’ Quartetthaus intimate performance. Call ANAM on (03) 9645 7911 Returns & GIVE A OVATION ” Two finalists in the ANAM Concerto Competition talk to us.

Shane Chen violin Josh Rogan trumpet When and where did you begin learning violin? When did you start playing the trumpet? I first started learning violin at the age of five from my I come from a brass band family. I had my first tenor father in . But when I was twelve, my parents horn lesson when I was three, from my mother. My divorced and they lived in two different cities, and I whole family plays in brass bands! Then I started on stayed with my mum. As a single parent, she was under cornet in the Frankston City Band when I was five. tremendous emotional as well as financial pressure. Halfway through grade 6 I took up trumpet so I could Also, the cultural background in China at that time was audition for VCA Secondary School, where I studied such that musicians could hardly make a living! from year 7 to 12. Therefore, I didn’t continue my music education, and My girlfriend thinks that’s why I’m so happy, because that’s one of the reasons I came to to study I went to a school with no stress, no bullying, and commerce. However, as I love playing violin so much, no homework, just lots of music! Half the day was I actually didn’t stop practicing and was self taught for normal academic stuff, the other half was playing or all all those years. singing in choir. You’ve chosen Tchaikovsky’s Concerto in D You are playing the Concertino for trumpet major, one of the longest, and also best-known and strings by André Jolivet. What attracts concertos. You could have chosen something you to this piece? easier. Why this one? The biggest thing is its energy. It has a lot of fire and Until now, it was too difficult for me to play, so there are rhythmic drive, it’s unrelenting. Also, a lot of it’s in the heaps of benefits for me in learning the piece. Also, I upper register of the trumpet so you can get a lot of was emotionally compelled to learn it, as the brilliant sound. Tchaikovsky Violin Concerto, in my opinion, contains I was lucky enough to do the Tomasi and Desenclos almost all the emotion that a human being could derive concertos last year, and apart from the Haydn, this is from being in love. And I can’t hold back, but have to one of the biggest. express my understanding of love through the piece. I believe perfect love casts out fear. Therefore, despite How do you learn a large work like this? its difficulties and huge scale, I’ve enjoyed working on it A lot of it is rote memorisation. Apart from that, there are over the last fifteen months so much. certain patterns that keep recurring – you just learn to see the shapes. Being able to hear it before you play it What is your method for learning a big piece is good. Being able to sing through it, play it at the like this? piano. Buzzing on the mouthpiece alone, humming It is like getting to know a person who has such a you through the mouthpiece is good, because you’re not colourful life. Again, it depends on how much you love locked into a pitch fingering, but your lips are doing the the person. The deeper the love, the more you want to same as if you were actually playing the trumpet. That’s know the person. Of course, practice is the good for locking in awkward intervals. Then you add in fundamental part. the whole trumpet, and hey presto! Tristram Williams There are so many great performances of this taught me the value of buzzing. It forces you to get the concerto for a violinist to reference. Do you have pitch exactly right. Then you take it to the whole any favourites, and is it difficult to create your instrument and it resonates fully. own interpretation? I love Maxim Vengerov’s and Leonidas Kavakos’s playing. My interpretation is based on my life’s journey of ANAM Concerto learning the violin. From my first love of the instrument at an early age, to when I lost the privilege of learning the Competition Final violin for more than twelve years, and eventually found Sat 20 October 7.30pm the nearly impossible way of getting back to music. All the emotion that I experienced throughout this is the Finalists foundation of my interpretation. Aidan Boase (piano) Liszt Totentanz (Dance Macabre), I can’t express enough my gratitude towards ANAM Josh Rogan (trumpet) Jolivet Concertino for trumpet, need piano and strings and my dear teacher Bill Hennessy. One of the most valuable things I learned from Bill is to ask, “What’s your Jack Schiller (bassoon) Mozart Bassoon Concerto heart telling you?” in B flat Major Shane Chen (violin) Tchaikovsky Violin Concerto in D Josh Rogan is generously supported by Peter & Helen Henderson Aidan Boase is generously by supported Graeme Morgan Shane Chen is generously supported by the Victor Fox Foundation Venue Federation Hall, Hobart Kevin Field conductor Tasmania Symphony Orchestra The ANAM Concerto Competition Final will be is recorded by ABC Classic FM for delayed broadcast

love Shane Chen violin Towards ide affirmation, a towards faith Few composers since Sibelius have sounded so On completing his studies he returned to Latvia in obviously north-European as Pēteris Vasks. A Latvian, 1970. Two years of military service with the Soviet born in the medieval Hanseatic port city of Aizpute, army awaited him. Rendering unto Caesar what was Adel Vasks’ music shares with the Finnish master’s the Caesar’s, he completed his national duty and finally same sense of endless expanse, stillness and direct embarked on what he had long been wanting to do: contact with the soil. And like Sibelius, Vasks is not study composition. Finally the doors of the Latvian Australian suburbia is where most of us live and grow up. Every afraid to write a simple, long-breathed melody. Pēteris Academy of Music were opened to him, and he spent so often, out of the ordinariness, comes someone extraordinary. Vasks claims a direct connection between his music five years developing his craft, showing particular Girl and nature and he is greatly troubled by ecological interest in the aleatoric works of Lutosławski, Miriam Hyde, our real individuality’. Having proved she could write one destruction, which he sees as a moral issue. For Penderecki and Crumb. With maturity came a first major woman piano concerto she instantly set to work on a second, Vasks, the composer’s role is prophetic: “To my mind, growing interest in the folklore of his native land. composer, was born in which was bolder, terser and more distinctive. Hyde every honest composer searches for a way out of his Textures became simpler, melodic lines more direct. 1913 in Prospect, was finding her voice. During the same creative surge time’s crisis. Towards affirmation, towards faith. He His violin concerto Tālā Gaisma (Distant Light) was at that time one of she produced her lyrical Fantasy Trio. shows how humanity can overcome this passion for written at the request of his countryman Gidon Adelaide’s most self-annihilation. If I can find a way out, a reason for She returned to Adelaide in 1935 wearing laurels, Kremer. Vasks realised that the two shared common ordinary, middle-class

hope, then I offer it as my thing.” Marwood Anthony and was asked to write the music for Heritage, a background. As a Jew in Soviet Latvia, Kremer was suburbs. The Hyde lavish pageant celebrating her state’s centenary. In Some people are born in the wrong time and the also an outsider. “I read Kremer’s book Childhood family home was 1938 she married Marcus Edmonds. Their marriage wrong place, but prevail nonetheless. Pēteris Vasks Fragments, and I realised that we had once gone to weatherboard, with a Anthony Marwood was cruelly interrupted by the war; Edmonds was taken was born in 1946, the son of a Baptist minister, only the same school together, but we have only really met piano inside and a lemon tree and a loo out the back. prisoner while serving in the middle east and spent the six years after Latvia had been subsumed into the now in music. Distant Light is nostalgia with a touch Holidays were spent at Port Lincoln or the Flinders Directs rest of the war as a POW in Germany. Hyde found an Soviet Union. Life was simple. Young Pēteris learned of tragedy. Childhood memories, but also the Ranges. Muriel Hyde, Miriam’s mother and first teacher, Thu 25 October, 7pm outlet for her stress in the searching and restless Piano the violin. “We had no TV, no record player. But we glittering stars millions of light-years away”. was a good pianist. Good enough, in fact, to play one of Sonata in G minor. had the tradition of living music at home and in the Bartók Divertimento the piano parts in Percy Grainger’s The Warriors when Distant Light is one of the most meditative and church.” Vasks’ harmonies, raw and simple but Vasks Distant Light the composer toured the City of Churches. Young Happily, Edmonds returned home, and the couple haunting works of our time. Anthony Marwood, who strong, no doubt carry some echo of his Baptist Beethoven Symphony No. 5 Miriam’s talent thrived, and while still at high school she produced two children. Hyde, whose work ethic was has recorded the concerto for Hyperion with the upbringing. But Soviet restrictions against ministers of enrolled in classes at the Elder Conservatorium. She unassailable maintained a steady stream of piano solos, Academy of St Martin-in-the-Fields, returns to Anthony Marwood violin/director religion were severe, and Vasks, despite his obvious nurtured ambitions of being a concert pianist and songs, and the occasional chamber and orchestral Melbourne this October to perform it with the ANAM ANAM Orchestra talent, was barred from entering the Latvian Academy began composing her own pieces. Grainger’s visit work, while at the same time running a household, a Orchestra. It will be the third visit to ANAM for the Venue South Melbourne Town Hall of Music. Fortunately, he was able to pick up work at inspired one, Grainger in the Strand. She found she had teaching studio and examining for the Australian Music acclaimed British violinist, who has been described the age of sixteen as a double-bass player for the Tickets $50 Full $35 Sen $25 Conc perfect pitch, which she regarded as a blessing and a Examinations Board (AMEB). Like Richard Strauss and by Strings magazine as possessing “an effortless state opera. Eventually, he was accepted into the ANAMates 15% discount curse. Any piano she played that was even slightly out Rachmaninov, she evolved her own late-romantic style, technique and a beautiful, rich, varied tone.” state music academy of neighbouring Lithuania. Bookings anam.com.au (03) 9645 7911 of tune required sustained concentration on her part to lyrical, passionate and harmonically inventive. compensate for the discrepancy. Brahms became her Modernism for its own sake did not interest her. Once, favourite composer (and was to remain so her entire in the late 1950s, she flirted with surrealism. Blending life), but her musical universe suddenly expanded when Schoenberg with John Cage, she constructed a tone someone loaned her a 78 rpm record of Debussy’s row by writing all twelve note names on slips of paper, Prelude to the Afternoon of a Faun. Years later in her placing them in a kitchen bowl and having her young autobiography, Complete Accord, she wrote, “I found son Robert pick them out at random. The result was a these harmonies ravishing and I am still moved when I piano piece cheekily titled Trends, which Hyde hear that rich broad passage in D flat Major that came considered good enough to include in her next ABC on the second side”. broadcast. Adelaide in the 1920s may have been remote, but that Her list of accomplishments is long and daunting. She did not stop major musical celebrities from coming helped found the Australian Composers’ Guild, through. Alongside Grainger, she got to hear and meet Australia’s first society to recognise composing as a Wilhelm Backhaus and the teenage sensation Shura profession. Her work with the AMEB shaped musical Cherkassky. When Padarewski toured, she played the education in this country. But above all, it is her music Polish maestro some of her own pieces in a which endures. Strong, purposeful, imaginative and Conservatorium concert. At fifteen, she played Chopin impeccably crafted, Hyde left a rich legacy which in what would be the first of countless ABC broadcasts. repays close attention. If she was never at the cutting But it was inevitable that a talent like Hyde’s would edge of musical style, it was because she did not need eventually need to go abroad to reach full potential, and to be. She found her own seam of gold early on and it 10 residents from Napier St Aged Care The residents enjoyed a rich program dedicated in 1931 she was awarded a scholarship to the Royal yielded precious ore for a lifetime. Services, aged 80 to 100, recently attended to classical improvisation with excerpts from Mozart, College of Music in London. ANAM a one-hour concert at ANAM, thanks to a Bach and Haydn’s works. Residents and their The critic from The Times partnership with the Harold Mitchell attendants alike left with smiles on their faces and Despite the stimulation and opportunities, life in London, Miriam Hyde Foundation. are expected to be back soon for another musical was impressed, noting ‘a away from her family, cannot have been easy for Hyde. curated by William Hennessy welcomes experience at ANAM. ‘For those residents who love She suffered a nervous collapse, necessitating a Wed 14 November, 6pm ANAM believes that music is always an enriching lengthy visit from her mother. Musically, however, she experience and should be made available and classical music, a live performance is not only Hyde Fantasy Trio strong sense of beauty and went ahead in leaps and bounds. In 1934, aged 21, she accessible to all. To bring music closer to its South entertaining and stimulating, it is also a cultural Hyde String Quartet in E minor music experience. It leads to verbal interaction and performed her first piano concerto with the London Hyde Trio for flute, oboe and piano Melbourne neighbours, ANAM has partnered with the accomplishment’ and ‘a real Philharmonic Orchestra. Its style and gestures are Harold Mitchell Foundation to offer free ANAMates promotes feelings of well-being. Hyde Toccata for two decidedly Brahmsian (with an occasional nod to annual memberships to local and disadvantaged individuality’. lovers “We are grateful for the Mitchell Foundation Rachmaninov), but it is nevertheless a work of great William Hennessy violin/director groups. The membership gives free access to over ANAMates Membership Cards as it means some “ confidence and self-assurance. And, unlike Brahms, her ANAM Musicians 170 concerts, seminars and masterclasses each year financially disadvantaged residents will be able to not orchestral colours are clear and transparent, as if the Venue Melbourne Recital Centre at ANAM. Napier Street Aged Care Services, a only enjoy hearing the students play, but also to older master’s scores had been subjected to some of all community based non-profit organisation located in Tickets $25 Full $15 Conc attend an event in the community”, says Anne Australian light and fresh air. The young Hyde dives into South Melbourne, was one of the first organisations to Parson, Co-ordinator of Lifestyle & Recreation, Napier the surging currents of late-romanticism and manages ANAMates 15% discount benefit from the initiative. Other community groups Street Aged Care Services. not merely to stay afloat, but to swim like an Olympian. Bookings ages have accepted ANAMates memberships including The critic from The Times was impressed, noting ‘a melbournerecital.com.au (03) 9699 3333 HEAT Program (part of St Kilda Youth Services), strong sense of beauty and accomplishment’ and ‘a Claremont Home, Arts Access Victoria and FareShare. ”

Alexina Hawkins viola OCTOBER Your Guide to Sun Mon Tue Wed Thu Fri Sat 1 2 3 4 5 6 11:30am ANAM’s events Mostly Mozart 7 8 9 10 11 12 13 6pm 8pm 8pm Sound Bite Conversations Conversations At ANAM it’s all about music. It takes a loyal with Ghosts with Ghosts and supportive audience to propel it from 14 15 16 17 18 19 20 the practice room into the concert hall. 2:30pm 6pm 6pm 1pm 7:30pm St Silas Strings Australian Voices Sound Bite Sound Bite Concerto Here are just some of the ways you can Concert Andrew Schultz Competition Final (Hobart) engage with our students and their music- 21 22 23 24 25 26 27 making in the upcoming months. 7pm 3pm Anthony Marwood In Convo with Directs Anthony Marwood ANAMates Membership Australian Voices 28 29 30 31 An opportunity to engage with our In partnership with the Melbourne Recital students in a more extensive and Centre, the Australian Voices series affordable way with free entry to over 60 celebrates the outstanding musical concerts, seminars and masterclasses* legacy of our home-grown composers. for the rest of the year. As an ANAMates NOVEMBER member, you will also receive exclusive In Conversation with… benefits and great discounts. A series of popular, informal seminars Sun Mon Tue Wed Thu Fri Sat conducted by a variety of the world’s 1 2 3 *visit anam.com.au for exclusions. finest artists at the peak of their careers. 1pm 7pm In Convo with Paul Wright & All events take place at the Paul Wright Howard Penny $5 Entry (ANAMates free) Direct South Melbourne Town Hall unless otherwise stated. Recital Season 4 5 6 7 8 9 10 Student recitals are a showcase of Recital Season 5 Recital Season 5 Recital Season 5 Recital Season 5 See anam.com.au for more information 1pm 1pm 1pm 1pm one’s hard work, dedication and training Amy Brookman Cameron Jamieson Courtenay Cleary Claire Linquist horn at ANAM. In November, students violin violin violin 2pm Sound Bites 5pm 2pm 2pm Jonathan Heilbron Concise hour-long concerts featuring perform a recital featuring repertoire of Francesca Hiew Robert Manley cello James Larsen cello bass their choosing. (Fellowship Recital) 6pm 6pm 3pm diverse repertoire that showcases the 6pm Sebastian Dunn Emma Buss violin In Convo with talent of ANAM musicians. Nelson Woods tuba horn Stephen Emmerson $5 Entry (ANAMates free) 6pm Iain Faragher $5 Entry (ANAMates free) trombone Concerto 11 12 13 14 15 16 17 Competition Final Recital Season 6 Recital Season 6 Recital Season 6 Recital Season 6 Recital Season 6 Finalists for the ANAM Concerto 1pm 1pm 1pm 1pm 1pm Anna Cooper flute Caroline Hopson Matthew Laing viola Alexina Hawkins Nelson Yarwood competition perform with the Tasmanian 2pm violin 2pm viola viola Kim Worley cello 2pm Aidan Boase piano 2pm 2pm Symphony Orchestra at Federation 3pm Madeleine Jevons 6pm Thomas Williams Anthony Chataway Concert Hall, Hobart. Public Masterclass violin Australian Voices piano viola Aleksander Madžar 6pm Miriam Hyde 6pm 6pm 6pm Emily Sheppard Katie Yap viola Jessica Fotinos Nadia Buck violin violin harp

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Sun Mon Tue Wed Thu Fri Sat 2 3 4 5 6 7 8 7pm Chamber Music Competition Final

Gladys Chua piano Booking details

Book Locations ANAMates Membership Australian National Melbourne Recital Centre Federation Concert Hall and tickets to Director’s Academy of Music Southbank Boulevard, 1 Davey Street Choice Concerts South Melbourne Town Hall Southbank, Victoria 3006 Hobart, Tasmania 7000 Online anam.com.au 210 Bank Street, Online melbournerecital.com.au Online tso.com.au Phone (03) 9645 7911 South Melbourne, Victoria 3205 Phone (03) 9699 3333 Phone 1800 001 190 In Person Office hours or Phone (03) 9645 7911 one hour prior to each event Fax (03) 9645 7922 St Silas Anglican Church Email [email protected] 99 Bridport Street Need Help? Online anam.com.au Albert Park, Victoria 3206 Call ANAM (03) 9645 7911 Online parishoftheparks.com.au Phone (03) 9696 5116

Join the anam.com.au conversation Editors Philip Lambert and Samantha Turley Design Alphabet Studio Photo Credits Cover image Julie Igglesden and ANAM Students Pia Johnson. Lucy Warren and Douglas Rutherford Ben Symons, courtesy of the Sydney Symphony Orchestra