Volume — 26 Australian May 2018 Free Music National Academy Makers of Music

DEBUSSY100 Honouring the missing

— Page 3

Canada calls

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Two centuries of Baroque

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Event Calendar

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The Keys to Success

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Adding character to recitals

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Powerful programming

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The Clarendon Street effect

— Page 8 Claude Debussy anam.com.au ANAM Soundbite & Recitals / Season Concert

Canada calls

genre and throughout the weeks to meeting the other quartets on this we will learn, explore and perform program and enjoying the beautiful SOUNDBITE alongside other emerging international Canadian mountains! There will string quartets – the early, romantic definitely be a sneaky sunrise jam PARTRIDGE and modern quartets tutored by session on a hill one morning while STRING QUARTET pioneering quartets including the we’re there.” Tue 8 May 1pm Parker Quartet and Jack Quartet.” In addition to preparing for their “Aside from workshops, international trip, the musicians MENDELSSOHN String Quartet presentations and tutorials, are also rehearsing for a Soundbite no. 1 in E flat major, op. 12 there will also be lots of performance performance on Tuesday 8 May. WEBERN Langsamer Satz opportunities which we’re looking “We’ve chosen three pieces by three for string quartet forward to! At this stage, repertoire very different composers for the RAVEL Introduction and Allegro is still being confirmed however we’re Soundbite – Mendelssohn, Ravel and for flute, clarinet, harp & excited to know that we’ll also be world Webern,” Eunise said. string quartet premiering works by the composers in You can also see these musicians Words by residence during the program.” perform in their recitals on Tuesday Performance to be followed by Miranda Cass With all the masterclasses and solo, 29 May at 3pm (Mana Ohashi, violin), complimentary light refreshments ANAM Marketing Coordinator chamber and orchestral performance Monday 4 June at 11am (Eunise Cheng, and a ticket giveaway opportunities at ANAM, it can viola) and Thursday 7 June at 6pm sometimes be tricky for the Quartet (William Huxtable, violin). The Partridge String Quartet, to find spare time between four people FUN FACT! The Partridge String ANAM RECITALS involving three ANAM musicians to rehearse. This three-week residency Quartet first formed in 2016 as a and one Alumnus, will be travelling will be a unique opportunity for the string quintet! The fifth member, Tue 29 May 3pm Mana Ohashi (VIC) violin to Canada in July for a three-week musicians to work together in an Alexandra Partridge, was in her residency at the Banff Centre for Arts intensive timeframe. third and final year at ANAM and Mon 4 June 11am and Creativity. The group’s violist, “In Banff, we’ll finally get three unfortunately moved away from the Eunise Cheng (WA) viola Eunise Cheng, said she is looking weeks uninterrupted with no other group the following year. She had an Thu 7 June 6pm forward to having the opportunity to commitments to focus solely on the important influence on the group’s William Huxtable (WA) violin purely focus on during quartet, which we’ve never had before. formation so the remaining musicians that time. So I’m excited to see what we can decided to name the quartet after her. Venue South Melbourne Town Hall “The program is based on the do and how far we can grow as an Tickets $5 at the door | Free entry evolution of the string quartet as a ensemble. We’re also looking forward for all ANAMates members

Two centuries of Baroque

Words by Howard Penny Baroque music had so much to ANAM Head of Strings do with spectacle and pageantry, INTERNATIONAL so I have bookended the program BAROQUE with foot-stomping dances by I was asked to devise a Baroque Praetorius and excerpts from Handel’s It seemed churlish not to include Fri 18 May 7.30pm program to be part of this year’s Water Music to give our evening a something by JS Bach, so I have Professional Performance Program, sense of fun and occasion. Muffat chosen an instrumental interlude from PRAETORIUS Dances from so I thought about what pedagogical was, like JS Bach and Handel after the Christmas Oratorio – a pastoral Terpsichore or experiential goals would be useful him, a true European, composing in all scene of transcendent beauty, and a VEJVANOVSKÝ a 10 to achieve with this. As those who current national styles. We meet him favourite of our Artistic Director as MUFFAT Sonata no. 2 in G minor know me will already be aware, I love here wearing his Italian hat and the it happens! (something to do with from Armonico Tributo to discover and present lesser known haunting and lively results are both showcasing four , I wonder?…) ZELENKA Hypocondrie a 7 in A major masterpieces alongside the tried and memorable and original. Jan Dismas In terms of originality, I was very keen SCHMELZER Balletto no. 1 true, so that is a goal in itself! I was Zelenka deserves special mention to explore one of the symphonies by 'Di Zingari’ keen for the ANAM musicians to as one of the most truly individual Bach’s extraordinarily talented son, HANDEL Concerto a due cori experience, and get to know from the voices of his time. Born near Prague, Carl Phillip Emmanuel, declared by no.2 in F major inside, national and personal baroque he was an exceptional bass player, both Mozart and Beethoven as the HANDEL Overture from Jephtha compositional styles, with a “bleed” and again studying various national father of their own not inconsiderable from late Renaissance as well as the compositional styles both directly invention. In its 11 minutes we ZELENKA Overture from I Penitenti al sepolcro del Redentore pre-classical Sturm und Drang, to give and indirectly, settled in Dresden as encounter such forward-looking music a bit of context. I am more than a little Kapellmeister and developed his own that we can understand them. JS BACH Sinfonia Part 2 obsessed with the building blocks of unique voice, earning him the genuine For the musicians, getting their from Christmas Oratorio musical language, and how these are respect of his colleagues including hands dirty with the huge and varied CPE BACH Symphony no.3 in F major used in both similar and idiosyncratic JS Bach, and the friendship of other instrumental and musical demands of HANDEL Water Music ways across the ages. So I have such titans as Telemann. His strong this repertoire will be both challenging selections 11 & 12 largely chosen works by composers and inventive counterpoint, and the and I hope seminal for their thinking writing in a style not of their place truly wacky twists of harmony, became about music in general. For the Howard Penny /director of residence, truly “international” signature characteristics of his style. audience it should be a great night out, ANAM Orchestra composers if you will. So we have We will meet him in two works, one and proof that Baroque music is so Handel out-Frenching the French in his which gets the prize for most original much more than nice background music Venue South Melbourne Town Hall Jephtha overture, the Prague-based title I believe, for its remarkably to listen to while doing the ironing! Tickets Full $60 Sen $47 Con $35 Vejvanovsky composing in the Venetian original music – Hypocondrie – and style, and Schmelzer giving us a joyous the other a shocking soundscape of Bookings anam.com.au or 03 9645 7911 gypsy ride. dread, the overture to the Penitenti.

Music Makers Volume — 26 Page 2 Composer insight

DEBUSSY100 Honouring the missing sonatas

Words by and the admirers it spawned are now so Lyle Chan frequently performed. But that combination Composer is no less audacious than a trio of , French horn and harpsichord (no. 4), just more familiar nowadays. Both mixtures Anyone seeing a score of a Debussy sonata demonstrate Debussy to be the master of will be intrigued by the cover page. The large sonority – as does no. 6, which seems like a title is “Six Sonates pour Divers Instruments” conventional small orchestra (what we today – six sonatas for various instruments. Only the call a ‘sinfonietta’) until you see the curious subtitle identifies it as 'The First for Cello combination of harp, harpsichord and piano. and Piano' (“La première pour Violoncelle et The (no. 1) and Piano”), “La Deuxième…” and so on. (no. 3) are familiar genres of course. But so When I acquired my copy of the Violin too in its way is Sonata no. 5. While unusual Sonata as a student, I was exhilarated to think for 1915 it is strikingly Baroque in combining there were six sonatas in total, not just the trumpet, woodwinds and keyboard – with three that I knew – only to be disappointed precedents in, once again, the Brandenburg that Debussy in fact didn’t complete the Concerto no. 2 and even earlier sonatas of project. He died, a young 56, and his publisher Albinoni and Telemann, though Debussy may Jacques Durand retained the full title on the not have known those. He definitely would published editions in honour of his friend. have known the use of trumpet in chamber This year being the centenary of music by his biggest detractor, Saint-Saëns… Debussy’s death, it seemed the right time to My sonatas are not based on Debussy's think about a realisation of his incomplete style(s) but are an extension of his aesthetic. final project. It's literally waited 100 years, They deal with the same issues such as despite how fascinated we music lovers are transformation of the past, the use of by incomplete last works: we perform them obsolete forms made new, the overt and constantly – Berg’s Lulu and Mahler’s 10th covert use of quotation, only these are symphony come to mind, not to mention versions of those musical issues 100 Mozart's Requiem and Puccini's Turandot. years later. But the case of Debussy’s last project is What of all the non-musical things unique. There are no sketches whatsoever, not occupying Debussy at the end of his life? a single note, of the missing three sonatas. The war was destroying monuments like IMAGES [BOOK 1] Nevertheless, he had set out a complete Rheim Cathedral. Paris had bad shortages Fri 29 Jun 7.30pm instrumentation list for each sonata. It was of food. Debussy even composed a piano piece found on a sheet with the manuscript of his to pay his coal dealer. He wrote his Sonatas DEBUSSY Sonata for flute, viola & harp Violin Sonata, and he also described the works knowing he was dying of cancer. It’s hard CHAN Sonata no. 6 (from Six Sonatas in letter to the conductor Bernardino Molinari. for my Sonatas to stay immune to all this. for Diverse Instruments) As I write this, I am happily lost in the Debussy must have begun with DEBUSSY Chansons de Bilitis the master list of 13 instruments for labyrinths of no. 6. I have completed no. 5 DEBUSSY Nocturne Sonata no. 6 (“a sonata in the form of and it is the first to première. Like the others, a concerto”, he wrote), then creatively it follows Debussy’s three-movement format. DEBUSSY Pour le piano suite distributed the instruments amongst The first movement is serious, sometimes DEBUSSY Page d'album (Pièce pour l'oeuvre Sonatas nos 1-5 strictly without overlap. grim, though with outbursts of happiness. du ‘Vêtement du blessé’) The inclusion of harpsichord is telling. (In describing his own Violin Sonata, he DEBUSSY Morceau de concours Debussy’s music and outlook was changed referred to "the very human contradictions" DEBUSSY Berceuse héroïque by World War I. The German occupation of of "tumultuous joy"). By contrast, DEBUSSY Images Book 1 his country made him nationalistic, and his I have a playful finale, remembering the thoughts turned to what needed saving of Debussy of acerbic wit. Here, I treat him Ian Munro piano as naughtily as he treated Wagner. French heritage. He expressed a nostalgia for ANAM Musicians Couperin and Rameau, “our old harpsichordists In between is a slow movement, perhaps who produced real music in abundance”. the emotional core of all three new sonatas. Venue South Melbourne Town Hall Moreover, I see the grouping of It’s a reminder that the Six Sonates project Six Sonates to be a very Baroque ideal. Due was first and foremost an expression of Tickets Full $60 Sen $47 Con $35 to the war, there was no access to standard ardour. This was the other thing that struck Bookings anam.com.au or 03 9645 7911 editions so Durand commissioned new me all those years ago when I got my Violin Lyle Chan’s Sonata no. 4 (from Six Sonatas editions of Bach (and Chopin) from Debussy. Sonata – the dedication. "These sonatas are for Diverse Instruments) will be performed at Never edit Bach on a rainy Sunday, Debussy offered in homage to Emma Debussy (p.m.). ANAM’s Suite Bergamasque performance on complained good-naturedly to Durand about Your husband, Claude". I learned that p.m. Friday 21 September. More details at the work. In the diverse instrumentation of was his nickname for her, "petite mienne” anam.com.au the Six Sonatas, I hear the equally diverse ("my little”). In the end, the six sonatas are a Debussy100 project presented in partnership and radical Six Brandenburg Concertos, love letter. I owe it to him to keep that spirit. with ABC Classic FM Lastly, I’d like to think Debussy would no two of which are instrumentally alike – Lyle Chan’s commissioned works for the like Debussy’s. It was no coincidence that he have approved a project like this premiering Debussy100 project have been assisted by the referred to the Sonata no. 6 as a concerto. in Australia. Debussy was a very national Australian Government through the Australia And could Debussy have had a (hidden) composer (the sonatas were signed Council for the Arts format for his Six Sonatas cycle? The Sonatas “musicien français”) who enjoyed great seem to alternate between conventional and international success. Two of these works unconventional instrumentation. Nos 1, 3 and – the Cello Sonata and Sonata for Flute, 5 are for ‘normal’ groupings of instruments, Viola and Harp – were premiered not in whereas nos 2, 4 and 6 raise eyebrows. his home city of Paris but in London and It’s easy to forget that the combination Boston. He might give us his blessing. of flute, viola and harp (no. 2) was an innovation, since Debussy's masterpiece

Page 3 ANAM Event Calendar

What’s on TSO BRASS IN ST ANAM RECITAL DAVID’S CATHEDRAL Wed 30 May 6pm May — June (HOBART) Sat 26 May 7.30pm Program to be advised

JS BACH Brandenburg Concerto Liam Meany (NSW) cello no. 3 (for brass) Leigh Harrold piano INTERNATIONAL JS BACH Ricercare a 6 (for brass) BAROQUE ANAM RECITALS BARBER Mutations From Bach AND SOUNDBITES Fri 18 May 7.30pm ANAM RECITAL JS BACH Nun seid ihr wohl (for brass) Thu 31 May 1pm BERG Verwandlungsmusik All ANAM Recitals and Soundbites PRAETORIUS Dances from from Wozzeck Act 3 are held at the South Melbourne Terpsichore JS BACH Cello Suite no. 3 in C major Town Hall. VEJVANOVSKÝ Sonata a 10 POULENC Quatre petites prières de Saint François D'Assise FRANCK Violin Sonata in A major Tickets $5 at the door MUFFAT Sonata no. 2 in G minor (for brass) op. 13 (arr. for cello) (ANAMates free) from Armonico Tributo SCHULLER Symphony for brass ZELENKA Hypocondrie a 7 in A major and percussion, op. 16 Vicky Zhang (NSW) cello SCHMELZER Balletto no. 1 Aidan Boase piano 'Di Zingari’ Michael Mulcahy director HANDEL Concerto a due cori Tasmanian Symphony Orchestra SOUNDBITE no.2 in F major Musicians ANAM RECITAL PARTRIDGE HANDEL Overture from Jephtha ANAM Musicians Fri 1 June 11am STRING QUARTET ZELENKA Overture from I Penitenti Tue 8 May 1pm al sepolcro del Redentore Venue St David’s Cathedral Program to be advised JS BACH Sinfonia Part 2 All Tickets Full $50 Con $45 Stu $20 MENDELSSOHN String Quartet from Christmas Oratorio Caleb Wong (NSW) cello Bookings tso.com.au or 1800 001 190 no. 1 in E-flat major, op. 12 CPE BACH Symphony no.3 in F major Louisa Breen piano Presented in partnership with WEBERN Langsamer Satz HANDEL Water Music Tasmanian Symphony Orchestra for string quartet selections 11 & 12 RAVEL Introduction and Allegro ANAM RECITAL for harp, flute, clarinet Howard Penny cello/director ANAM RECITAL Fri 1 June 1pm & string quartet ANAM Orchestra Tue 29 May 1pm Program to be advised Partridge String Quartet Venue South Melbourne Town Hall with guests Program to be advised Tickets Full $60 Sen $47 Con $35 Kyla Matsuura-Miller (QLD) violin Includes complimentary light Bookings anam.com.au Beth Condon (VIC) viola Aidan Boase piano refreshments and a ticket giveaway or 03 9645 7911 Leigh Harrold piano ANAM RECITAL SOUNDBITE ANAM PRIZEWINNERS ANAM RECITAL Fri 1 June 3pm ISLAND SONGS IN THE SALON Tue 29 May 3pm TASMAN TRIO CLARENDON TRIO Program to be advised Fri 11 May 1pm Tue 22 May 6pm Program to be advised Andrew Baird (SA) flute

PSATHAS Three Island Songs BEETHOVEN Trio for violin, Mana Ohashi (VIC) viola Peter de Jager piano BRAHMS Trio for violin, cello & cello & piano in E-flat major Leigh Harrold piano piano in C major, op. 87 op. 70, no. 2 RAVEL Trio for violin, cello & piano ANAM AT NGV Laura Barton (NZ) violin in A minor ANAM RECITAL Sat 2 June 2pm Daniel Smith (alumnus 2017) cello Tue 29 May 6pm Riley Skevington (alumnus 2017) Liam Wooding (NZ) piano Program to be advised violin MYERS Entasis III for solo trumpet Jonathan Békés (alumnus 2017) ANAM Musicians cello TURLEY Firefly for solo trumpet ORCHESTRAL & tape TRANSCRIPTIONS Berta Brozgul (VIC) piano Venue Ian Potter Centre: MILLS Trumpet Concerto NGV Australia DEBUSSY100 Venue Salon, SPIERS Zyj Bookings ngv.vic.gov.au Wed 16 May 11am Melbourne Recital Centre or 03 8620 2222 Tickets Full $39 Con $29 Fletcher Cox (WA) trumpet DEBUSSY Cello Sonata in D minor Bookings melbournerecital.com.au Aidan Boase piano DEBUSSY Prelude to the Afternoon or 03 9699 3333 ANAM RECITAL of a Faun (for 2 pianos) Mon 4 June 11am DEBUSSY La Mer (for 2 pianos) ANAM RECITAL DEBUSSY (arr. RAVEL) Nocturnes ANAM RECITAL Wed 30 May 1pm Program to be advised (for 2 pianos) Fri 25 May 1pm DEBUSSY (arr. CAPLET) Program to be advised Eunise Cheng (WA) viola L’Isle joyeuse BODY The Street Where I Live Louisa Breen piano Samuel Beagley (VIC) trumpet Kathryn Stott piano CHOPIN Ballade in F minor op. 52 Leigh Harrold piano ANAM Musicians DEBUSSY La Mer (for 2 pianos) ANAM RECITAL Mon 4 June 1pm Liam Wooding (NZ) piano Venue South Melbourne Town Hall ANAM RECITAL Timothy Young piano All Tickets $35 Wed 30 May 3pm Program to be advised Bookings anam.com.au or 03 9645 7911 ANAM RECITAL Repertoire to include: Eliza Shephard (NSW) flute Leigh Harrold piano Includes complimentary light Fri 25 May 3pm HENZE for solo trumpet refreshments HONEGGER Intrada Kathryn Stott’s ANAM residency is ENESCU Legend for trumpet & piano Program to be advised ANAM RECITAL generously supported by Ralph and PEASLEE Nightsongs for flugelhorn Mon 4 June 3pm Barbara Ward-Ambler Alexander Waite (VIC) piano & piano

Michael Olsen (WA) trumpet Program to be advised Peter de Jager piano Dale Vail (NZ) trombone Aidan Boase piano

Music Makers Volume — 26 Page 4 Event Calendar

ANAM RECITAL Fri 8 June 11am

SAINT-SAËNS Sonata in G op. 168 O'RIORDAN Temptation for solo bassoon ANAM RECITAL MOZART in B-flat major Tue 5 June 1pm Carol Wang (NZ) bassoon HUMMEL Sonata for viola & piano Leigh Harrold piano op. 5 no. 3 KURTÁG Signs, Games & Messages for viola ANAM RECITAL

Alexander MacDonald (NZ) viola Fri 8 June 1pm Peter de Jager piano Program to be advised

ANAM RECITAL Jenna Schijf (WA) bassoon Louisa Breen piano LAWRENCE POWER: Tue 5 June 6pm SHOSTAKOVICH Sat 16 June 7.30pm Program to be advised ANAM RECITAL

Andrew Fong (QLD) clarinet Fri 8 June 3pm BIBER Battalia for strings & continuo Leigh Harrold piano Program to be advised MOZART String Quintet no. 1 in B-flat major ANAM RECITAL Mariette Reefman (NSW) viola WOOLRICH Ulysses Awakes Leigh Harrold piano (after Monteverdi) Wed 6 June 1pm SHOSTAKOVICH Chamber Symphony op. 110a Program to be advised ST SILAS SUNDAYS Lawrence Power violin/viola/director Liam Oborne (VIC) violin Sun 10 June 2.30pm ANAM Musicians Louisa Breen piano Program to be advised Venue South Melbourne Town Hall ANAM RECITAL ANAM Musicians Tickets Full $60 Sen $47 Con $35 Wed 6 June 3pm Bookings anam.com.au Venue St Silas Anglican Church or 03 9645 7911 Tickets Available at the door Program to be advised Includes complimentary afternoon tea ANAM RECITAL ANAM RECITAL Natasha Hanna (VIC) violin Tue 26 June 6pm Fri 22 June 11am Louisa Breen piano MOSTLY MOZART 2: Program to be advised MOZART’S VIOLA Program to be advised ANAM RECITAL Thu 14 June 11am Owen Jackson (QLD) oboe Jackson Bankovic (NSW) trombone Thu 7 June 1pm Peter de Jager piano BIBER Battalia for strings Louisa Breen piano & continuo Program to be advised WOOLRICH Ulysses Awakes IMAGES [BOOK 1] ANAM RECITAL Robert Nicholls (VIC) double bass (after Monteverdi) for viola DEBUSSY100 & 10 strings Fri 22 June 1pm Fri 29 June 7.30pm Louisa Breen piano MOZART String Quintet no. 1 in B-flat major Program to be advised DEBUSSY Sonata for flute, ANAM RECITAL viola & harp Lawrence Power violin/viola/director Pius Choi (NSW) trombone Thu 7 June 3pm CHAN Sonata no. 6 ANAM Musicians Peter de Jager piano (from Six Sonatas for Diverse Instruments) EDWARDS Water Spirit Song Venue Elisabeth Murdoch Hall, DEBUSSY Chansons de Bilitis YUN Monolog for bassoon Melbourne Recital Centre ANAM RECITAL DEBUSSY Nocturne HANDEL in G minor Tickets Full $49 Sen/Con $42 Fri 22 June 3pm DEBUSSY Pour le piano suite ELGAR Romance (arr. for Bookings melbournerecital.com.au DEBUSSY Page d'album (Pièce pour contrabassoon) or 03 9699 3333 Program to be advised l'oeuvre du ‘Vêtement du blessé’) WEBER Andante and Rondo DEBUSSY Morceau de concours Ungarese op. 35 Emily Newham (QLD) horn DEBUSSY Berceuse héroïque Louisa Breen piano Matthew Ventura (NSW) bassoon DEBUSSY Images Book 1 Leigh Harrold piano Ian Munro piano ANAM RECITAL ANAM Musicians ANAM RECITAL Tue 26 June 3pm Thu 7 June 6pm Venue South Melbourne Town Hall Program to be advised Tickets Full $60 Sen $47 Con $35 MOZART Sonata for violin & piano Giovanni Vinci (WA) double bass Bookings anam.com.au in G major or 03 9645 7911 Louisa Breen piano BRUCH Scottish Fantasy op. 46

William Huxtable (WA) violin Peter de Jager piano All details are correct at time of printing and subject to change. Please visit anam.com.au for the most up to date information.

Page 5 ANAM Donation appeal / ANAM Recitals

The Keys to Success

At ANAM, providing musicians with all the tools In 2018, ANAM is embarking on an ambitious that they need to learn and prosper is paramount to project to replace six of our pianos over the next their success. This is particularly relevant in ANAM’s two years. This undertaking is enabled in part via Piano department, as pianists can’t take their own the generous support of Yamaha Music Australia, instrument with them wherever they go. They need with in-kind support to the value of $40,000. to be exposed to a diverse suite of instruments to Nevertheless, we require further funds to make practice and perform on. this a reality. The Keys to Success campaign aims As Timothy Young, ANAM Head of Piano and to raise $60,000 in support of the purchase of a Chamber Music explains “ANAM’s pianists need to Yamaha S6 Grand Piano. Timothy Young describes experience performing on a variety of world-class this handmade instrument as “unique in design, instruments to develop their adaptability and the philosophy and therefore sound. This means that capacity to be flexible to whatever situation they there are points of difference in the way that the find themselves”. This exposure will provide the instrument responds in performance that can inspire pianists with both the technical facility and open- and challenge musicians into new ways of thinking.” mindedness to deal with any circumstances they We warmly invite you to help us purchase this may encounter, and will help them grow and become world-class instrument that will be instrumental in stronger in their own capacity to express themselves. the training of ANAM’s musicians for years to come. ANAM owns a number of excellent instruments You can buy a string, a key, an octave, a pedal or of different makes, some generously donated, even middle C or give anything you can in support but pianos, unlike stringed instruments, must of our musicians and this fundamental part of their be replaced after years of constant playing. training. For more information, see the enclosed donation form, or visit anam.com.au/support/ keystosuccess

Adding character to recitals

ANAM Recitals are an opportunity for each ANAM musician to make their own personal musical statement, through performance, repertoire and presentation. As the musicians are preparing for the next round of recitals, we caught up with one of our recital moderators from last year, Jo Beaumont.

How many ANAM recitals were How would you describe the importance you involved in last year? of preparing and performing a recital to someone at the start of their music career? I had the pleasure to be an audience member of about 28 recitals last year. This was a real privilege as I was Programming is important. I tend to start a recital able to listen to so many different instruments. with a work I feel 'at home' with, hoping it will go well and give me confidence for the rest of What would you say really makes the recital. It is always important to walk on to a recital stand out from the rest? the stage knowing that you have done as much preparation as possible; it is not a good idea to There are many things that make a recital stand walk on stage ‘hoping that things will be ok!'. out more than others (although at ANAM they were all exceptional). There are some more obvious aspects Do you have any anecdotes to share from such as technique, intonation and sound production your own recital experiences in the past? but what I like seeing and feeling is that distinct personality emerging, putting character into the work. My first recital at age five ended really quickly This makes listening and observing more exciting. as I crossed my legs and cried to my Mum to take me to the toilet. That was the end of the recital… I also What did you enjoy the most about being managed to turn pages too quickly once, which flew a recital moderator for ANAM? everywhere during an outdoor concert. I also gave ANAM RECITALS a concert with a bandaged head (big bump) as I I was continually amazed by the standard of playing See the calendar for a full list of upcoming had just signed myself out of hospital after ANAM recitals and the obvious dedication to their studies that a car accident. 'If you start throwing up, come all students seemed to have. Also, I enjoyed seeing straight back to Emergency' was what I was told. the students interact with each other, reciprocal Venue South Melbourne Town Hall I got through the recital but I am sure I looked encouragement and of course playing together. Tickets $5 at the door | Free entry very odd! for all ANAMates members

Music Makers Volume — 26 Page 6 Guest artist spotlight

Powerful programming

Words by “A lot of Russian composers liked Miranda Cass to do that, they liked to put people’s ANAM Marketing Coordinator names in their pieces of music. So that’s really interesting to me… It’s always a good experience listening to it.” Also on the program is Woolrich’s Lawrence Power is one of today’s foremost Ulysses Awakes and Mozart’s String Quintet violists, in demand worldwide as a recitalist, no. 1 in B-flat major that Lawrence said is concerto soloist and chamber musician. He is always a joy to play, “Mozart was only 16 celebrated across the globe as an imaginative when he wrote it but it’s a real masterpiece”. and brilliant musician. After his successful Other than the work by Woolrich, which is recital and concerto soloist visits, Lawrence a short, beautiful piece for viola and strings, will return to Melbourne in June for his first Lawrence will perform alongside the ANAM residency. ANAM musicians in the group. He said it’s “I’ve been a couple of times before very rewarding to work collaboratively so I know there is a really high level of with an ensemble in this way. musicianship,” Lawrence said. “I’ve been “I think it’s always more interesting looking forward to spending more extended musically to be a collaborator, rather than time with them in Melbourne. Usually I’ve just just focusing on your one thing,” he said. taught a class between other engagements “I always find one gets to know musicians so it will be nice to get to know everyone a much better when you’re part of the group bit better and also to work with this amazing and really working with them on that level, program of music.” and I hope that it will be really useful for them Lawrence has gathered together a as well, to play with me and exchange ideas.” collection of startling works, culminating Lawrence is also known for his with Shostakovich’s own arrangement collaborative approach to working with for string orchestra of his Eighth String composers. He has built a reputation of being Quartet, a searing, grief-stricken work, a champion of contemporary music and has and arguably his most celebrated opus. developed a large repertoire of new works. He gave the UK premiere of Olga Neuwirth’s Concerto Remnants of Song at the 2012 "The piece was written BBC Proms, and the world premieres of scores during the aftermath of the written for him, including Salonen’s Pentatonic LAWRENCE POWER: Étude, Turnage’s Power Play, Anderson’s allied bombing of Dresden SHOSTAKOVICH Prayer, Goehr’s Hymn to Night, MacMillan’s and it was a powerful Viola Concerto and Watkins’s Fantasy. Sat 16 Jun 7.30pm statement by Shostakovich “I do play a lot of contemporary music and it just seems such a natural and important BIBER Battalia for strings & continuo to try and depict that in thing to do, really, for us all to champion what MOZART String Quintet no. 1 in B-flat major music,” Lawrence explains. we have today as much as how music has WOOLRICH Ulysses Awakes “He depicts the bombs developed through the course of history.” (after Monteverdi) “I love working with composers. I think SHOSTAKOVICH Chamber Symphony landing randomly coming it gives you a lot of freedom when you come op. 110a back to classical composers because… when from afar, which is a you go back to Bach or Beethoven or Mozart, Lawrence Power violin/viola/director really eerie effect." it’s easy to forget that those composers were ANAM Musicians also just writing this music in their time.” Lawrence thinks it’s great to go back Venue South Melbourne Town Hall Lawrence heard this piece performed by to the basic principals of rhythm and Tickets Full $60 Sen $47 Con $35 the Borodin Quartet while he was studying in harmony without being too affected by the London. “It was a very special moment to hear traditions of performing music, which he Bookings anam.com.au or 03 9645 7911 that iconic tribute quartet play that piece. thinks is a danger with classical music. Lawrence Power’s ANAM residency is I think that’s probably the first time I heard it “For me, working with a composer is a generously supported by the UKARIA live and it really stayed with me... I’ve heard rare opportunity to do something without Foundation it and played it in the quartet version quite a having any influence at all, and that’s a really Lawrence Power will also perform with few times but I’m looking forward to playing great thing as a musician, it’s very liberating… ANAM musicians for the Mostly Mozart it in this chamber orchestra version.” That’s what I love about contemporary music, concert on 14 June. See the calendar for One thing that Lawrence finds very you’re not overshadowed by tradition, ever.” more details. interesting about this piece is that nestled We’re looking forward to seeing the new within all the melancholic music, as always, ideas that Lawrence and the ANAM musicians Shostakovich spells out his name in musical will share during his residency in June. letters: DSCH. It is a musical motif derived from the German transliteration of his name: Dmitri SCHostakovich. In German musical notation, S [sounding ‘es’] is E flat and H is B natural, resulting in the four-note sequence: D-E flat-C-B.

Page 7 ANAM ANAM Prizewinners

2017 ANAM Chamber Music Competition proud to be the only Australian group The Clarendon and being part of such a positive at this year’s competition and we can ANAM PRIZEWINNERS Street effect musical environment really fuelled our guarantee that we’ll be flying the flag development as a trio. In many ways the high and playing our hearts out! IN THE SALON hardest thing was selecting a name for On 22 May we’re presenting a recital CLARENDON TRIO our group. Eventually we settled with at Melbourne Recital Centre where we’ll Tue 22 May 6pm naming ourselves after Clarendon Street, be performing two masterworks for a place where we spent many a lunchtime piano trio: Beethoven's Trio for violin, grabbing coffee and food (in that order!) cello and piano in E flat major op. 70, BEETHOVEN Trio for violin, cello Words by These days we’re based in different no. 2 and Ravel's Trio for violin, cello and piano in E-flat major op. 70, Jonathan Békés cities and each have very different and piano in A minor. These are two no. 2 ANAM Alumnus schedules. Berta is in her third and final of our favourites where you can see RAVEL Trio for violin, cello & piano year at ANAM, Riley is freelancing in Beethoven at his ingenious and quirky in A minor The Clarendon Trio formed Melbourne and I’m based in Hobart best and you can hear the unbelievable at ANAM in 2017 with the intention playing with the Tasmanian Symphony craftsmanship and imagination of Ravel. Riley Skevington (alumnus 2017) violin of submitting an application Orchestra. But there’s nothing a bit We’ll also be touring across Jonathan Békés (alumnus 2017) cello for the Melbourne International of organisation and forward planning Tasmania for Virtuosi Tasmania at the Chamber Music Competition can’t solve (and a lot of frequent end of May. As part of the trip we’ll also Berta Brozgul (VIC) piano in 2018. We were fortunate enough flyer points!) We’ve got the year’s be presenting some masterclasses and to be successful in our application rehearsal and performance schedule open rehearsals for students at the Venue Salon, Melbourne Recital Centre and are looking forward to being drawn up and ready and we can’t Tasmanian Conservatorium of Music. Tickets Full $39 Con $29 part of the competition in July! wait for the challenge ahead of us. We’re really looking forward to Each of the members of We’ve got some really exciting things an exciting year ahead and we can’t Bookings melbournerecital.com.au Clarendon had been studying at on the horizon for 2018. As previously wait to perform for you all across or 03 9699 3333 ANAM for a period of time and mentioned we are competing in the Australia. Thanks again to ANAM for knew each other well, so forming Melbourne International Chamber everything past and present – we’re the group was very easy and it Music Competition coming up at the truly excited for what the future holds! seemed to work beautifully from start of July. The workload is a bit of the outset. We were very lucky a marathon but well worth the effort. to have formed while studying at For the competition we have to present ANAM. The academy provided all the seven complete piano trios ranging opportunities we could hope for in from works by Haydn all the way regards to performance, rehearsals through to an exciting new commission and guidance. Competing in the by Paul Stanhope. We’re also very

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