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She Speaks a Celebration of the Past, Present and Future of Women Composers in Australia and Beyond

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She Speaks a Celebration of the Past, Present and Future of Women Composers in Australia and Beyond ADELAIDE She SYMPHONY ORCHESTRA Speaks SEASON 2021 June Presented in partnership with Saturday 19 the Elder Conservatorium of Music Elder Hall at the University of Adelaide Le Parc 2 She Speaks A celebration of the past, present and future of women composers in Australia and beyond. LUNCHTIME CHAMBER MUSIC CONCERT 10 Domestic Voices 1pm, Elder Hall SYMPOSIUM 15 Silent Women 4pm, Madley Studio EVENING ORCHESTRAL CONCERT 16 She Speaks 7pm, Elder Hall LATE EVENING CONCERT 19 When We Speak 9pm, Elder Hall Presented in partnership with the Elder Conservatorium of Music at the University of Adelaide 3 WELCOME You might say that She Speaks is part of the journey towards the fulfilment of a long-felt goal. A few years ago, I stumbled on ABC Classic’s inaugural long-weekend dedicated to music by women composers. As I listened to a huge variety of music by composers I barely knew, I was surprised, delighted and captivated by the extraordinary range of musical styles and expression across the centuries. I also ultimately felt a sense of shame and disappointment: Here I was, a university music graduate who had spent most of his professional life in the world of music, and I had scant knowledge of these composers or their work. Every musical organisation has a role to play in giving music by women an important place in our concert life, and here at the ASO we are resolved to make a difference to the status quo. So, this year, each of our Symphony Series concerts includes music by women. We have also created the Miriam Hyde Giving Circle, which, with your generosity, will make it possible for us to commission and perform more work by women. I hope the day will come (soon!) when a focused, one- day mini-festival devoted to the performance of and discussion about women’s music won’t be as necessary as it is right now, but at this point there is still much to achieve. I’m heartened to see the green shoots emerging from our initiatives so far, and we’ve received comments of delight from audience members hearing this music for the first time. My profound thanks to composer Anne Cawrse for her dedication, diligence and creativity in curating this exploration of music by several generations of women, and to Stella Joseph-Jarecki, a graduate of the Australian Youth Orchestra’s Words About Music program, for the annotations you’re about to read. Vincent Ciccarello MANAGING DIRECTOR 4 WELCOME Welcome to She Speaks, a day in which the Adelaide Symphony Orchestra, together with friends and colleagues at the Elder Conservatorium of Music, celebrate the lives and works of female composers past and present through performance and discussion. Writing music requires time, space and freedom. To be heard, a composer needs advocates – performers, conductors, administrators, sound engineers, and more besides. To practise their craft, a composer needs a figurative ‘room of one’s own’ – and money. (Funny, isn’t it, that Virginia Woolf mentions the money first?) These things are hard to come by for many composers; historically, they have been harder to find, if not impossible, for women. However, once you start looking, there are hundreds of brilliant pieces of music by female composers. There are names, like Clara and Fanny, who have become (for want of a better term) ‘well known’: but can we hum their tunes? There are women who experienced great successes during their lifetime, only to be forgotten and found wanting of advocates after their passing. Perhaps you are here because you know some of the works being performed. Perhaps you know one of the composers. You may be here because you trust the calibre of the performers, and so well you should. Whatever the reason, your attendance demonstrates a commitment to remaining curious about music. None of the works on this program could be considered concert staples – some, such as my Suite from Innocence and Ruby Davy’s Fantasie Impromptu I can guarantee will be brand new to everyone. And how exciting is that – that together, we are helping to shape our cultural heritage by honouring what has come before, championing the female creatives of today, and encouraging those yet to make their mark. After all, good music is good music, regardless of who wrote it. Anne Cawrse CURATOR, SHE SPEAKS 5 Meet the Artists Desiree Frahn Hilary Kleinig SOPRANO CELLO Originally from country Hilary is founder, Artistic South Australia, Desiree Director of and cellist is a graduate of the with Zephyr Quartet, with Elder Conservatorium whom she has curated and a principal artist and produced projects, with State Opera SA. collaborating together For the Company, her with a range of artists Luke Dollman roles have included Adam Goodburn and companies working CONDUCTOR Vixen (The Cunning Little TENOR in various artistic fields. Vixen) Valencienne (The With Zephyr she has Luke Dollman has Adam has been involved Merry Widow), Leïla (The also commissioned and conducted throughout with State Opera SA for Pearlfishers), Lauretta performed new music by Europe and Australasia, over 20 years. In 2007 he (Gianni Schicchi), Rose many composers working working with orchestras played Mahatma Gandhi Pickles (Cloudstreet – in various musical spheres such as the London in Philip Glass’s opera world premiere), and performed with a Philharmonic, Netherlands Satyagraha, which Pamina (The Magic diverse range of leading Radio Philharmonic, earned him a Helpmann Flute) and Rosalinde musicians. Royal Scottish National Award nomination. (Die Fledermaus). Orchestra, Monte Carlo Adam is the co-founder Philharmonic and all of SINGular Productions professional orchestras and is developing two in Australia and New new Australian operas Zealand. In the field with State Opera SA: of opera, he has been Innocence and a new a regular guest at the chamber opera, The Finnish National Opera, Unknown. and has worked for Opera Australia, the State Opera SA, and the Netherlands Opera. 6 Cheryl Pickering Seraphim Trio MEZZO-SOPRANO Over the last two decades, Cheryl is a singer, director violinist Helen Ayres, and creative producer. As pianist Anna Goldsworthy Artistic Director of Various and cellist Tim Nankervis – People Inc, Cheryl’s have remained steadfastly focus is cross-art form committed to chamber and socially engaged music – from building the classical vocal music contemporary repertoire, Teresa La Rocca performance. Cheryl has Joshua Rowe to developing new MEZZO-SOPRANO created works for, and BARITONE audiences and teaching performed in, all the the next generation of Teresa La Rocca was Josh has performed major Adelaide festivals, performers. Seraphim a finalist in the ABC’s for opera companies as well as interstate Trio inspire others through Young Performers’ Award around Australia including chamber festivals and intelligent programming and went on to win the Opera Queensland and throughout the United and a deep knowledge State Opera Aria, the Victorian Opera. His Kingdom. Cheryl lectures and love of chamber music. Herald-Sun Aria and many awards include the in classical voice at the the Metropolitan Opera 2007 Queensland Arts Elder Conservatorium Awards. Her roles for Council Performing Arts of Music. Elder Music Lab State Opera SA have Scholarship and Runner included Norina in Don Up in the Dame Joan Elder Music Lab is the Pasquale, Parasha in Sutherland Awards. He Elder Conservatorium Stravinsky’s Mavra, Yum made his role debut for of Music’s new music Yum in The Mikado, State Opera SA as Krishna ensemble, comprising and the soprano role in in Philip Glass’ Satyagraha Conservatorium students Flamma Flamma for the in 2014 and has gone on and, occasionally, staff Adelaide Festival. to perform many roles for members. It provides the company. a spearhead for the Conservatorium’s activities in the area of contemporary music, with a particular focus on generating and performing new works, and innovative performance practices in general. 7 ADELAIDE SYMPHONY ORCHESTRA Violins Double Basses Trumpets Kate Suthers** David Schilling** Josh Rogan** Acting Concertmaster Jonathon Coco~ (Guest Section Principal) Cameron Hill** Belinda Kendall-Smith Martin Phillipson~ Associate Concertmaster Holly Little Gregory Frick Shirin Lim* Principal 1st Violin Trombones Belinda McFarlane** Flutes Guest Principal 2nd Violin Colin Prichard** Lachlan Bramble~ Julia Grenfell** Associate Principal 2nd Violin (Acting Section Principal) Ian Denbigh Janet Anderson Lisa Gill Hilary Bruer Bass Trombone Elizabeth Collins Oboes Amanda Tillett* Jane Collins Joshua Oates** (Guest Principal) Judith Coombe Renae Stavely~ Danielle Jaquillard Tuba Alexis Milton Clarinet Michael Milton Peter Whish-Wilson* Jennifer Newman Dean Newcomb** Julie Newman Timpani Emma Perkins Bass Clarinet Andrew Penrose* Alexander Permezel Kemeri Spurr Mitchell Berick* Percussion Violas Bassoons Steven Peterka** Jamie Adam Andrew Jezek** Jackie Newcomb** (Guest Section Principal) (Acting Section Principal) Harp Justin Julian~ Leah Stephenson Anna Hansen Suzanne Handel* Rosi McGowran Horns Carolyn Mooz Adrian Uren** ** denotes Section Principal Cecily Satchell ~ denotes Associate Principal Emma Gregan * denotes Principal Player Philip Paine* Cellos Timothy Skelly Simon Cobcroft** Ewen Bramble~ Sarah Denbigh Sherrilyn Handley David Sharp 8 The Miriam Hyde Circle is a new initiative committed to ensuring a greater representation of women composers – past, present and future – in the work of the ASO. Miriam Hyde AO OBE (1913–2005) was one of Australia’s foremost pianists, composers and music educators of the 20th century and, in naming the Circle after her, we honour her trailblazing spirit. The inaugural chair of the Miriam Hyde Circle is the Hon. Catherine Branson AC QC. As a member, you will be invited to special events to meet and hear from leaders from the cultural and business sectors. Through supporting performances by the ASO of lost and forgotten music of the past, and the creation of new music, membership in this giving circle makes a real difference to the representation of orchestral music by women.
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