CANBERRA INTERNATIONAL MUSIC FESTIVAL 2 – 12 MAY 2019
re/discover BACH
Festival Calendar English Baroque with Circa 7.30 pm Thursday May 2 Llewellyn Hall 10
1 A World of Bach 7.30 pm Friday May 3 Fitters’ Workshop 15
2 Winther's Bach I 11 am Saturday May 4 Fitters’ Workshop 21
3 Shall We Dance? 2.30 pm Saturday May 4 Fitters’ Workshop 25
4 Winther's Bach Ii 5 pm Saturday May 4 Fitters’ Workshop 27
5 Latin Romance 8.30 pm Saturday May 4 Fitters’ Workshop 29
6 Bach's Orbit 11 am Sunday May 5 Fitters’ Workshop 31 National Gallery of Australia 7 Bach In the Central Desert 2.30 pm Sunday May 5 35 Gandel Hall 8 The Three Bs 6.30 pm Sunday May 5 Fitters’ Workshop 39 St. John's Anglican Church, Bach for Breakfast #1 8.30 am Monday May 6 43 Reid Australian National 9 Magic Garden 11.30 am Monday May 6 47 Botanic Garden Piano Masterclass 3 pm Monday May 6 ANU School of Music 49
10 St John Passion 6.30 pm Monday May 6 Fitters’ Workshop 51 National Arboretum Bach for Breakfast #2 8.30 am Tuesday May 7 53 Margaret Whitlam Pavilion 11 Up Close at Gorman 11 am Tuesday May 7 Gorman House 55
Quartet Masterclass 3 pm Tuesday May 7 Ainslie Arts Centre 58
12 Slava's Piano 6.30 pm Tuesday May 7 Fitters’ Workshop 59
Bach for Breakfast #3 8.30 am Wednesday May 8 Embassy of Finland 63 Mount Stromlo 13 Bach on the Mountain 11.30 am Wednesday May 8 65 Visitors' Centre 14 Brexit Blues 6.30 pm Wednesday May 8 Fitters’ Workshop 69
Bach for Breakfast #4 8.30 am Thursday May 9 Beaver Galleries, Deakin 73 8.45 am - Taste of the Country Thursday May 9 Annual Festival Trip 75 4.30 pm 15 Brodsky Quartet 7.30 pm Thursday May 9 Fitters’ Workshop 77 Canberra Girls' Grammar Bach for Breakfast #5 8.30 am Friday May 10 81 School Chapel Canberra Girls' Grammar 16 Bach the Teacher 11 am Friday May 10 83 School Chapel 17 THE CHILDREN'S BACH by Helen Garner 7.30 pm Friday May 10 Fitters’ Workshop 89 National Library Bach for Breakfast #6 8.30 am Saturday May 11 93 of Australia 18 Prelude and Fugue 11 am Saturday May 11 Fitters’ Workshop 95
19 Bach In Africa 2.30 pm Saturday May 11 Fitters’ Workshop 99
20 Goldberg Variations / Variations 5 pm Saturday May 11 Fitters’ Workshop 101 Smiths Alternative, Jazz Up Late 10 pm Saturday May 11 105 Alinga St 21 Bach for All 11 am Sunday May 12 Fitters’ Workshop 107 National Gallery of Australia 22 Augmented Piano: Solo for Duet 2.30 pm Sunday May 12 109 James O. Fairfax Theatre 23 Testament 6.30 pm Sunday May 12 Fitters’ Workshop 113 Welcome from Message from ACT Chief Minister Honorary Festival Patrons, Andrew Barr MLA Major General the Hon. Michael Jeffery and Mrs Marlena Jeffery
Welcome to the 2019 Canberra International As the patrons of the Canberra International Music Festival – the 25th since its foundation in Music Festival, Marlena and I are immensely 1994. proud to see the Festival mark its 25th year as one of the foremost events of this city’s lively Over the last quarter-century the Festival cultural life. has established itself as a significant event in Australia’s cultural scene. Amid the vibrant Originally conceived as a small chamber music colours of the Canberra autumn it has brought festival to provide performance opportunities together musicians and music-lovers not just for the city’s music students, it has developed from this city but from across the country and over 25 years into an annual 10-day celebration beyond, to share their passion for our musical of local, interstate and international musical heritage and our musical future. talent, regularly supported by local residents Director Roland Peelman’s 2019 program and increasingly by interstate visitors. focuses on the great J.S. Bach, giving us an opportunity to welcome to Canberra the ladies With Roland Peelman at the helm as Artistic th of the Ntaria (Hermannsburg) community who Director, now in his 5 year in this role, we can sing Bach’s chorales in their own language – look forward to a program firmly rooted in Arrarnta. the mind of one of the greatest composers of Western music, J.S. Bach. Excitingly, the The program highlights a number of Australian composers, both established and up-and- program will also range widely over current coming, and devotes a day to exploring an developments in Australian music, from the important and often undervalued role – that of traditions of our oldest cultures to the next the music teacher. generation of young composers. It draws artists from Britain, France, Germany, Above all, it will be a people’s Festival, during Canada, the US, Chile and Colombia, Russia, and which the audience will get to know many of Africa, to entertain us and to inspire us with new these outstanding musicians. Our younger perspectives on the music we know and love. players will also benefit through invaluable We congratulate the Festival organisers on all opportunities to work with and learn from they have achieved over the last twenty-five established Australian and international years, and look forward to what is to come. performers. I welcome our interstate and international We warmly congratulate the Festival organisers visitors to the 2019 Canberra International Music and supporters on having achieved this Festival and hope they enjoy their time here in praiseworthy milestone. Long may it continue! this wonderful city. Michael and Marlena Jeffery Andrew Barr MLA ACT Chief Minister Photo: Anthony Browell Bach as a universal figure in music. Bach as an anti-fashion icon. Bach as a master of counterpoint and a potent symbol for today’s multiplicity of voices.
Two years ago the idea emerged to make Bach the centre-piece of the 25th Festival, and those are the words that sprang to mind. After delving into Bach’s solo works, Cantatas, Passions, Concerti, as well as the monumental statements such as Clavier-Ubung (four books, with the Goldberg Variations at the end), the Well-tempered Clavier (48 Preludes and Fugues, no less), the Art of Fugue (19 substantial fugues) and the Musical Offering, the same thoughts prevail. We may marvel at the mathematics, we may revel in the virtuosity, we may bathe in the sheer bliss of Bach’s bouncing rhythms and harmonies, we could even loose ourselves in the warrens of his counterpoint, but the fact that his music has found a pathway around the world and now means so many things to so many people remains the greatest source of joy and optimism.
We have tried to find something of Bach’s essence in this festival, not by doing everything (not even Leipzig’s yearly Bach-Fest can do that), but by finding things that take us inside the special waves of this man's musical brain, the freedom that made him an improviser, the rigour that guided him as a teacher, the mystery and magic that allowed him to be a performer and creator. What he left behind has given us all something to think or talk about, and I hope that this festival will do precisely that. The artists assembled this year will be happy to give you a helping hand.
Roland
The position of Artistic Director is supported by ANNA & BOB PROSSER The dance of God
ike Dickens, Bach goes with Christmas; Christoph the cousin who had the most talent, Lwithout his music, something would be and he taught the young Johann Sebastian missing. But there is a difference between the organ. Johann Sebastian himself would be the nineteenth-century novelist and the married twice, fathering twenty children, half eighteenth-century composer. From The of whom survived into adulthood. All of them Pickwick Papers to The Mystery of Edwin seem to have been musical, though we don’t Drood, Christmas for Dickens was an occasion know much about the daughters, and three of for sentimentality. Bach is never sentimental. his sons themselves became distinguished composers. Quite the dynasty. When we listen to the opening of the Christmas Oratorio we hear joy, certainly, and of course Eisenach had solid Lutheran associations. it’s Christian joy, the trumpets and drums and Martin Luther’s mother had been born in trilling flutes heralding and celebrating the the town and Luther himself spent some of birth of Jesus. But we also hear the physical his childhood there, returning in 1521 with a and intellectual joy of musical invention, and price on his head to take up residence in the for Bach all these things went hand in glove. Wartburg Castle, where, under the protection No one created more musical joy than Bach, of Frederick the Wise, elector of Saxony, he not even his contemporary and compatriot, translated the New Testament into German. Handel. By the same token, no one handled We should count ourselves lucky the Bach its opposite, grief, so sublimely, and no one family was Lutheran. Had Johann Sebastian offered better consolation. In Bach, we find a been born a Calvinist we might never have composer perfectly balancing the mind and heard of him. the body. In contrast to Calvin’s musical strictures, It is not universally true, but great artists tend Luther considered music an essential part of to be prolific, unstoppable, and Bach’s output Protestant worship and, in itself, something is huge. To call Deutsche Grammophon’s Bach like a moral good. “Those who have mastered 333 edition ( just released, 333 years after the the musical art are made of good stuff,” he composer’s birth) a “boxed set” is accurate wrote, “and are fit for any task. It is necessary but misleading, for it is a boxed set like no for music to be taught in schools. A teacher other. The size and weight of a case of wine, must be able to sing, or I will not even look at it contains 222 CDs sourced from twenty- him.” two different record labels, two large-format hardback books and seven thick paperback Writing a two-part study of Bach and booklets containing, among other things, Beethoven, the late musicologist Wilfrid the texts of the vocal and choral works that Mellers called his first volume Bach and the dominate this composer’s work. I haven’t yet Dance of God (the second was Beethoven worked out where to put it. But that somehow and the Voice of God). He was correct to seems appropriate, for great art is not made stress the dance. Most obviously in the for our convenience. instrumental music — the partitas for solo violin, the English and French suites for Bach was born in 1685 into a family of musicians harpsichord, the solo cello suites — dance in Eisenach in the central German province of metres and rhythms are everywhere. These Thuringia. His father, Johann Ambrosius Bach, suites comprise allemandes and courantes, ran the town band. Ambrosius’s father and minuets and gavottes, sarabandes, bourées grandfather had also been musicians, and so and gigues. They were the fashionable dances were his brother and cousin, both of them, as of the time, danced at court and emulated it happens, called Johann Christoph. It was beyond, but in most cases their origins lay 4 a century or two earlier with the peasantry. disquisition in poetic form given to one or Did Bach know this? In including these dance more solo voices, with or without chorus. forms in his work, did he reason that he was So we might think of these cantatas as sung not merely addressing an audience of nobles sermons, and it is remarkable the extent to but embracing the experience of all classes? which Bach was responsible for the tone of It would certainly have fitted with his Lutheran the pronouncements. For while the solo voice beliefs: the Bible and liturgy in the vernacular, presents its commentary on the day’s lesson, the congregation singing popular hymns. an obbligato instrumental line typically spins a secondary, wordless commentary around it. For it was not only in his instrumental music that Bach employed dance metres. The two A feature shared by about a quarter of hundred religious cantatas he composed, these cantatas is the presence of a chorale first in Weimar and then later Leipzig, contain — one of those popular Lutheran hymns — movements founded on dance. And when not generally subjected to vocal and instrumental specifically related to dance, baroque music embellishment at the beginning of the in general had a steady pulse running through cantata, then sung straight at the end. it. If Bach’s mind is contemplating heaven, his feet, while stepping lightly, make regular As a concrete example of all this, we might contact with the earth. take the cantata Mache dich, mein Geist, bereit (Prepare Yourself, My Spirit), BWV Was he aware of that medieval conceit of 115, composed in Leipzig for the twenty- the life of Jesus as a dance? In his cantatas, second Sunday after Trinity in 1724. The he was drawn over and over to the notion of day’s Gospel reading was the parable of the Christ in dialogue with his “bride,” the Church: unforgiving debtor from Matthew 18:21, and was music, for Bach, an emulation of the the cantata is built on a well-known hymn “general dance”? by Johann Burchart Freystein. The first verse is presented upfront as an elaborate In 1723, Bach was appointed cantor of St structure in which sopranos sing the tune Thomas’s in Leipzig, a position he held until (doubled by a cornetto), while the other his death in 1750. It was a prestigious but voices offer imitative embellishments on top arduous role: as “Thomaskantor” he was not of a four-part fantasy for solo flute and oboe only responsible for providing the music each d’amore with unison violins and violas over Sunday at four churches, but also for teaching an energetic bass line. There follow two long the boys in the adjoining St Thomas’s School. and expressive arias. In the first, which has Adjoining his apartment that is — you wonder the form of a lilting siciliano — a dance in 3/8 how he composed at all! Yet in his first six — an alto voice, with strings and oboe d’amore years in the post he composed the majority of obbligato, reprimands the soul for sleeping his cantatas, often at the rate of one per week. on the job; in the second, a soprano with a That’s perhaps half an hour of new music double obbligato of flute and piccolo cello composed, copied out and rehearsed, along directs the soul, softly, achingly, to pray for with his other responsibilities, every seven forgiveness and purity. Each aria is followed days. It must have been a gruelling routine, by explanatory recitativo passage for bass but there is nothing routine about the music. and tenor voices respectively, and the whole Each cantata takes as its starting point the cantata ends with the final verse of Freystein’s Epistle and Gospel reading appropriate to hymn, simply harmonised and stripped of its the Sunday for which it was intended — the earlier instrumental adornments. second Sunday after Epiphany, the third after The cantata is a masterpiece, but how it went Easter, the twenty-seventh after Trinity, and over at its first performances is anyone’s so on. The sung text is generally a theological 5 guess. The arias are such concentrated spans King of Prussia. But Bach’s keyboard works of lyrical introspection that it is impossible were never forgotten and were particularly to imagine them having much effect in a prized by other composers, among them large church, packed to the rafters with Mozart and Beethoven, who made his Vienna congregants, many of them chatting, some debut as a pianist with a program that included arriving late or leaving early through the selections from the Well-Tempered Clavier. open doors, while animals wandered about untethered. Still, if Bach was no radical, he remains a touchstone. When it comes to the organ, he For this listener, it helps immeasurably to is the one composer who is indispensable. An be able to read the texts that Bach set and organist’s work, whatever else it may involve, understand their background. This is music begins and ends with the music of Bach. In driven by Bach’s faith, and directed by it — of a way it is the same with the cello. There has course, it was also his job, and he was nothing been music for solo cello composed in the if not a professional. But even without all the last 333 years (most of it in the last century), theology, the music can speak on its own but nothing on the scale of Bach’s six suites. behalf to anyone with time to devote to it and They are simply unique, and even today, a ears to hear. composer sitting down to write for cello alone will find him or herself in dialogue with that So how do we sum up this man and his art? The music. big box currently on my coffee table seems to demand this attempt, but it’s hard. Did The 222 CDs in the Deutsche Grammophon Bach the jobbing musician even think he was box contain 280 hours of music, not that the creating art? While his time in Leipzig might composer’s complete works last that long. An have been dominated by religious music, the important aspect of Bach’s music is its aptness six years before his arrival there were spent for interpretation and reinterpretation. While at Prince Leopold’s court in Cöthen writing we have learnt over the last seventy years instrumental music (including the cello to play this music in a manner informed by suites) because that’s what his boss required. history, it is not the only approach. In this box And staunch Lutheran though the composer are performances of all Bach’s music that was, he chased a position at the Catholic fit the “historically informed” approach, but court in Dresden by offering them one of his there are also multiple recordings of many very greatest works — the Mass in B minor. of the works, and some of these predate Bach’s body of work is immense, varied and of modern research while others simply ignore a consistency unequalled in Western music. it. There are also responses to Bach — It’s true to say he was not an innovator in the arrangements and musical commentaries — manner of Haydn or Beethoven, or of Wagner, by later composers as various as Elgar and Debussy or Stravinsky. He didn’t alter the Webern, Birtwistle and Kats-Chernin (her Re- nature of music. Even in his lifetime, he was Inventions for recorder and string quartet, called a conservative, the writing of fugues played by Genevieve Lacey and the Flinders considered old hat. And yet, was there ever a Quartet). And there’s the jazz of Jacques more influential composer? Loussier’s Play Bach Trio and the still- sparkling scatting of the Swingle Singers. Bach After Bach’s death, much of his music fell is not only indispensable, but indestructible! into disuse. The St Matthew Passion lay unperformed for nearly a century until the In the end, it is this quality of Bach’s music one twenty-year-old Mendelssohn presented it cannot gainsay. The richness of the harmony, in Berlin in 1829 to an audience that included the exuberance of the counterpoint, the the philosopher Hegel, the poet Heine and the integrity of the notes on the page. Play them 6 fast, slow them down, jazz them up: the other composer you can name, particularly strength of the composer’s invention endures after Bach. and speaks to us irrespective of style. But Bach is different. We listen to Bach’s It also seems to bypass the composer’s music, however grieving, however consolatory, ego. When we listen to Beethoven’s music however joyful, and Bach himself — the man, — remember Mellers called it “the voice of the jobbing musician — doesn’t seem to be God” — we do indeed hear a voice; it’s the there. This is why there is no sentimentality. composer’s voice. We listen to Beethoven’s When we listen to Bach, we hear own grief, quartets or sonatas or symphonies and we our own consolation, our own joy — our own sense Beethoven. It’s the same with nearly any Christmas. Andrew Ford
Andrew Ford is an award-winning composer, writer and broadcaster, best known as the presenter of The Music Show each weekend on ABC Radio National since 1995. A former academic, Ford has written widely on all manner of music and published nine books, most recently The Memory of Music (Black Inc., 2017). This article first appeared inInside Story on December 7, 2018.
Andrew Ford
7 Leanne Jin is number 13, but certainly not unlucky....
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Proud Sponsor of CIMF 2019 8 PIANO SALES | TUNING | REPAIRS | RESTORATIONS | HIRE | TUITION National Gallery of Australia Thursday 2 May James O. Fairfax Theatre 12.45 pm IN ASSOCIATION WITH THE NATIONAL GALLERY OF AUSTRALIA AND THEME & VARIATIONS FOUNDATION EXTRA EVENT MUSIC FOR LUNCH
The Theme & Variations Foundation Awards recognise Australia’s best young pianists. This concert features Leanne Jin, one of the winners of the 2018 award.
Leanne Jin plays
Manuel de Falla 1876-1946 Aragonesa
Claude Debussy 1867-1918 Pour les arpèges composées
Franz Liszt 1811-1886 Etude no. 2 in E-flat d’après Paganini
Frédéric Chopin 1810-1849 Scherzo no. 4 in E major, Op. 54
Enrique Granados 1867-1916 El Pelele
9 ENGLISH BAROQUE
ANU School of Music Llewellyn Hall
Thursday May 2 7.30 pm
10 WITH CIRCA
Circa
Australian Brandenburg Orchestra
Creative Team Paul Dyer AO Artistic Director Yaron Lifschitz Artistic Director, Circa Benjamin Knapton Associate Director Libby McDonnell Costume Design Peter Rubie Lighting Design
11 25 years of the Festival: from ‘salon’ to national significance or 25 years an annual music festival has more contemporary and diverse art music Fresounded through Canberra’s idyllic focus, attracting a scintillating array of national autumnal setting. The Festival has brought and international performers. It contained a together international performers who have ‘contemporary festival within a festival’, a daring come through the aid of foreign embassies; musical adventure for audiences curated by the Australian performers from across the nation Australian New-York based pianist, Lisa Moore. and overseas; and a variety of musical genres Since then, Barbara has continued to “bless” and forms of artistic creativity, in venues of the Festival through the performance of new historical and cultural interest. or little-known Australian works. Her generosity and foresight is encapsulated in her own words: The Festival was founded in 1994 by the late “The sincerest form of love is encouragement.” Ursula Callus (1939-2000), the then President of Pro Musica Incorporated. Pro Musica was a Since then, under the inspired artistic direction non-profit community organisation established of Nicole Canham (2004-08), Christopher in the 1980s by the late Latham (2009-14) and Edythe Butler and a Roland Peelman (2015–), group of music lovers the Festival has forged a concerned to provide unique national identity wider performance as a provocative cultural opportunities in the drawcard exploring music homes and boardrooms and ideas. For 10 days in Canberra for the each May, the capital now outstanding students of vibrates with engaging the then Canberra School Barbara Blackman musical experiences that of Music. Under the artistic guidance of Geoffrey bring together the constructed, natural and Lancaster, David Pereira and Virginia Taylor, intellectual environments. The Festival has Callus’s first 1994 “Canberra International become a beacon of innovative, adventurous Chamber Music Festival”, as it was then styled, programming and a gravitational force drawing offered an intensive weekend of 7 concerts together composers, performers, scholars and in a variety of venues. Still, this local chamber captivated audiences. music festival created enough excitement to Once focused on homes, churches and win the Canberra Critics Circle Award for Music embassies, the Festival has increasingly Innovation that year and to inspire confidence in inhabited and exploited the distinctive its potential. architectural and natural sites and sonic Over 25 years, the aspirations, scope, spaces of Canberra, creating memorable repertoire and organisation of the Festival artistic experiences for both performers and have grown exponentially. Since its first audiences alike. The idea for a series of concerts decade, the Festival has gradually transformed in Canberra’s ‘Amazing Spaces’ was conceived from a small-scale ‘salon’ event into a major in 2009 by architect Ross Feller and director attraction of national significance: renamed Christopher Latham. Through a partnership the Canberra International Music Festival, while with the ACT Chapter of the Australian Institute acknowledging its chamber music origins. Its of Architects (AIA) the Festival inaugurated significant expansion was in large part due to Amazing Spaces specifically to explore the a munificent gift in 2006 from philanthropist acoustics and architecture of Canberra’s public and audience-builder, and former patron of buildings and spaces, winning in 2011 the AIA’s Pro Musica, Barbara Blackman. In that year, Clem Cummings Medal for “contributions by the gift enabled its horizons to embrace a non-architects and architects to architecture
12 and the public interest”. The recreation of Festival’s 25th anniversary, many of which owe Peter Sculthorpe’s dramatic cantata The their creation to the Festival’s newly established Rites of Passage in 2009 uncovered the commissioning body A Major Lift. cathedral-like acoustics of a neglected piece Successive artistic directors have explored a of Canberra’s industrial heritage, the Fitters’ diverse range of music held together by visionary Workshop. Through public advocacy to the ACT concepts. government, Canberra's music-lovers were finally able to reclaim the site as an acoustic Christopher Latham reinvoked through jewel and to fashion a hub for the Festival: a music the Griffins’ winning design ideals for companion site to the re-purposed historic the planned national capital (1911), weaving powerhouse (the Glassworks) and the old Bus concepts of harmony, proportion, democracy Depot as markets, creating a Kingston Arts and philosophy into the program. Bringing Precinct. to the Festival his encylopaediac knowledge Over its history, the Festival has also formed and renowned musicianship, Roland Peelman enduring creative relationships with all the has boldly challenged audiences to hear national cultural institutions located in the with fresh ears and insights the old and the city. Artistic directors have variously created new, the culturally unexpected and beloved inspiring and relevant programs that explore masterpieces, woven through ideas such and connect music to the functions, acoustics, as “Revolution” (2017), “Return” (2018) and collections and symbols of the Australian War in 2019 “re/discover Bach”. As he says, “the Memorial, the Museum of Australian Democracy essential and the unexpected collide in glorious (Old Parliament House), the High Court, the counterpoint”. The Festival invites composers National Gallery, National Portrait Gallery, and audiences into the heart of its performing National Library and the National Museum, as world. By incorporating forums, exhibitions, well as the landscapes of the National Botanic excursions and encounters, it has cultivated Gardens and National Arboretum. conversation, interaction and bonding between composers, performers and audience: all This national perspective, together with interest emerge as deeper musical friends. in Canberra’s centenary in 2013, has created a natural synergy and context for the Festival to From its inception, the Festival has delighted in present Australia’s own music, both past and the enthusiastic support of many embassies, newly commissioned, always heard amidst who have helped foster international a wide and diverse international repertoire. perspectives and artistic relationships across Australian composers have been front and cultural boundaries. With 25 years of their centre, and the Festival has an impressive support, audiences have been able to hear record of award-winning commissions. exceptional performances by overseas artists From 2015-18, the Festival premiered 25+ performing with leading Australian musicians. commissioned works – mostly privately funded True to its beginnings, the Festival has also – especially championing Indigenous, female aimed to nurture exciting young musicians, and emerging creative artists. In recent years, vocal and instrumental. Through its links with each Festival has featured a major composer- the ANU School of Music and the Australian in-residence – including Peter Sculthorpe, Ross National Academy of Music, and the generosity Edwards and Elena Kats-Chernin; Kate Moore, of such donors as Drs Arn Sprogis and Margot Gerard Brophy, Chen Yi and Mary Finsterer. In Woods and Ann and Roger Smith, the Festival 2019 the Festival has a composers’ collective- has been able to offer opportunities to young in-residence of Jess Green, Bree van Reyk and artists, not just from Canberra but from across Nick Wales. Together with Moya Henderson, Ella Australia and New Zealand, to perform with Macens, Chris Sainsbury and Michael Dooley, professionals. Participating youth organisations these composers are creating new works for the have included local school choirs and the
13 Canberra Youth Orchestra through to the and federal governments. As the Festival has Moorambilla Voices and ACO2, the emerging grown into a stimulating and unique national artist arm of the Australian Chamber Orchestra. attraction, so have audiences doubled, even Young children and families have not been tripled, and national broadcasts by ABC Classic forgotten, encouraged to interact with music, and ArtSound FM have extended the ripples of whether learning Mozart with Mr Tim, vocal excitement around Australia. games with Tobias Cole, or rhythmic play with Historically, the best festivals grow organically, William Barton’s didjeridoo. as this one has, out of people’s imagination, Barbara Blackman’s notion that “the sincerest sustained community engagement, together form of love is encouragement” has played with inspired artistic leadership. Ursula Callus out in so many other ways throughout the and her small voluntary team created a festival Festival experience. The Festival could not have of their own in culture-loving Canberra, with commenced, survived nor grown without the dreams and aspirations for a future. But could efforts of a small army of expert volunteers and they have ever imagined the growth in scale, billeters from the community of Canberra’s quality, artistic scope and national perspective music lovers. Equally, several individuals have of the Festival 25 years later? Bravo and thanks sponsored concerts and artists over many to all who have contributed to make this a unique, years, as well as commissioning new works. enticing and challenging national adventure in The generosity of people has enabled the music. It is in our hands to imagine the next 25 Festival’s artistic vision and achievements to far years! surpass the Festival’s financial or administrative capacity, in turn attracting additional support from Australian businesses and from the ACT Robyn Holmes and Geoff Millar
Festival Directors, 1994 – 2014:
1994-1999: Ursula Callus
2000: Rae Mann, Eric McDonald
2001: Betty Beaver and Dorothy Danta
2002-2003: Aernout Kerbert
2004: Virginia Taylor, Geoffrey Lancaster & David Pereira
2005-2008: Nicole Canham
2009-2014: Christopher Latham
2015 – : Roland Peelman
14 Fitters' Workshop Friday 3 May 7.30 pm MALIGANIS EDWARDS JOHNSON PRESENTS with the support of the Goethe Institut CONCERT 1 A WORLD OF BACH
Nick Wales b. 1975, Bree van Reyk b. 1978, Jess Green b. 1979 Jess Green guitar Loure (WP) – Beaver Blaze Bree van Reyk percussion Commissioned by A Major Lift Veronique Serret violin Johann Sebastian Bach 1685-1750 Bach Akademie Australia Concerto for oboe and violin in C minor, BWV 1060 dir. Madeleine Easton violin Allegro – Adagio –Allegro Nick Wales viola Concerto for harpsichord in D minor, BWV 1052 Emma Black oboe Allegro – Adagio – Allegro Matías Piñeira horn INTERVAL Korneel Bernolet harpsichord & director Ntaria Choir (Hermannsburg, NT) William Barton b. 1981 Kalkadunga Welcome William Barton didgeridoo After A.E. Grell 1800-1886, based on Psalm 365 sonic.art saxophone quartet Ingkaartai, alkira ngerra (Lord, your goodness) - in Western Arrarnta Trio SR9 marimbas Johann Sebastian Bach Contrapunctus III from Art of Fugue, BWV 1080 Contrapunctus XIIb ‘inversa’ from Art of Fugue, BWV 1080
Origin unclear, after Frances R. Havergal (?) Ingkaartai, angkai nuk-urna (Master, speak, thy servant heareth) - in Western Arrarnta J.S. Bach Contrapunctus XIII from Art of Fugue, BWV 1080
After William Pennefather ca. 1855, translation Pitjantjatjara Church Council Jesu, ngananala (Jesus stand among us) - in Pitjantjatjara J.S. Bach/R. Peelman Toccata and Fugue in D Minor, BWV 565
After Philipp Nicolai 1556-1608 and J.S. Bach Kaarrerrai, wurlamparinyai! (Wake, awake, for Night is flying) - in Western Arrarnta This concert is supported by LYNDALL HATCH and ROBIN GIBSON WP – WORLD PREMIERE
15 BEAVER BLAZE n May 2007, five musicians from the Band of the Royal Military College – Duntroon, played the Ifirst performance of a small brass quintet by Elena Kats-Chernin calledBeaver Blaze. ‘Beaver’, because the idea had been instigated by the indefatigable Betty Beaver, lifelong supporter of arts and music in Canberra. ‘Blaze’, because the then Artistic Director of the Festival, Nicole Canham, was married to a brass player! Betty’s blazing presence in the Festival dates back to the origins of Pro Musica in 1994. A trained cellist with an interest in early music, Betty’s musical prowess combined with her entrepreneurial spirit as owner of the Beaver Galleries since 1975 to earn her a central spot in the Festival’s annual Opening Gala. Betty wanted to ensure that the opening of each festival would inspire sufficient excitement, and promised to put her name to a new piece each year. The idea took hold, and ever since 2007 the Festival has kicked off with a little ‘blaze’. Initially this was no more than a different incarnation each year of Elena’s original, but as the Festival evolved different composers have written new pieces for the Opening Gala under the banner of Beaver Blaze.
2007 Elena Kats-Chernin: Beaver Blaze I for brass quintet The Ur-version of the Blaze, a simple brass quintet which was performed again during the 2016 festival by five players of the Band of the Royal Military College.
2008 Elena Kats-Chernin: Beaver Blaze II for children’s choir, didgeridoo, clarinet and marimba
2009 Elena Kats Chernin: Beaver Blaze III for soprano and piano
2010 Elena Kats-Chernin: Beaver Blaze IV for jazz combo (arr. Bukovski) This is the version that nearly didn’t happen. The premiere was planned in St Christopher’s Cathedral, Manuka. The Almighty’s electricity board struggled to cope with the number of extra lights installed around the stage area. This particular Blaze required an electronic keyboard. When the time came, a simple extra switch plunged the entire stage area in darkness…
2011 Elena Kats-Chernin: Beaver Blaze V for four pianos Arguably the version of Elena’s Blaze with the loudest impact. Four pianists, Tamara-Anna Cislowska, Calvin Bowman, Adam Cook and Elena herself went wild in King’s Hall of Old Parliament House. We were told afterwards that it could be heard as far away as the new Parliament House.
2012 Elena Kats-Chernin: Beaver Blaze VI for baroque orchestra This recreation for the Wallfisch Band led by Elizabeth Wallfisch and conducted by Roland Peelman took place in Albert Hall on a cold autumn evening. Beaver Blaze had come a long way, and Elena swore never to do another one.
2013 Elena Kats-Chernin: Beaver Blaze VII for two pianos and percussion Again in Albert Hall, and this time paired with Stravinsky’s Rite of Spring, Elena rewrote the 4 piano version for the 20 fingers of Queensland duo Liam Viney and Anna Grinberg, with some extra blaze from two Synergy percussionists.
2014 Elena Kats-Chernin: Beaver Blaze VI for baroque orchestra A repeat of the 2012 version. It marked Chris Latham’s finale as Festival Director, and the last Opening Gala in Albert Hall. Every subsequent festival has been held in the Fitters’ Workshop in the Kingston Arts Precinct.
16 2015 Kate Moore: The Dam for baroque and modern ensemble Kate Moore’s new work was not only the most substantial Blaze so far, running at 16 minutes: it also garnered the most attention. After some revisions and acclaimed performances in UK and Holland, The Dam received the 2017 Matthijs Vermeulen Prize in The Netherlands. This most coveted award is given every two years to a different Dutch composer. Kate, who divides her time between Holland and Australia, is the first female composer ever to win the Prize. The original version of The Dam was premiered in the Fitters’ Workshop on May 1, 2015, with a baroque ensemble set on the main stage and a modern ensemble with percussion, saxophone, electric guitar, electric keyboard and didgeridoo set up on the opposite side, nearly 40 metres away. Directed by Roland Peelman, the audience heard 18th century and 21st century sounds coming from each side of the hall. The revised version for UK and Holland was performed and recorded by the Icebreaker Band.
2016 Gerard Brophy: Dervish for guitar, string trio and percussion Premiered by Andrey Lebedev on guitar with Ricardo Gallardo on vibraphone and the Boccherini Trio (Suyin Kang, Florian Peelman and Paolo Bonomini).
2017 Robert Davidson: White Australia for voices and didgeridoo Based on the eponymous 1966 poem by Oodgeroo Noonuccal, this work opened the 2017 Festival on 28 April 2017 under the banner of ‘Revolution’. It was performed by Luminescence Chamber Singers with Clive Birch as solo bass and William Barton on didgeridoo.
2018 Brenda Gifford: Gambambarawaraga for mixed ensemble The first Indigenous composer to receive a commission by the Festival, Brenda Gifford is a proud Yuin woman, and wrote the work based on her traditional understanding of the seasons. The premiere on April 27 2018 in Fitters’ Workshop involved Tim Fain on violin, Ned McGowan on flute and contrabass flute, Susanna Borsch on recorder, the young singers of Turner Trebles and Vocal Fry with local jazz trio Hugh Barrett, piano, Brendan Clark, bass and Mark Sutton, percussion.
2019 Green/Wales/Van Reyk - a new fusion work based on Bach
Betty Beaver with Kate Moore (2015) Photo: Peter Hislop
17 Luther, Bach, Strehlow and language reclamation n 1534, Luther’s translation of the Old and New anthropologist. His comprehensive field studies ITestament was complete. Importantly, his of the Arrarnta people, their language and songs, sources were the Hebrew and ancient Greek is encapsulated in the 1971 magnum opus Songs versions rather than the Latin Vulgate. John of Central Australia. His work and activities ran Wycliff’s Bible from the 14th century which is contrary to official White Australia attitudes of sometimes credited as being the first English that time (including the “robbing of children” as Bible was neither complete, nor comprehensive, he called it), as well as accepted anthropological and still closely related to the Latin version. orthodoxy dominated by American scholars for Luther’s steadfast manoeuvres against Rome, most of the 20th century, and – it has to be said – and his re-evaluation of the Bible as the central also the fledgling Aboriginal political movement text for the congregation gained enormous that had grown weary of white-fella intrusion. traction. By 1535, a complete English translation put together by Miles Coverdale was published in Antwerp. Several other versions followed before the authorised King James Bible of 1611, still revered in most Anglican circles, made its appearance.
Luther also was an active writer and instigator of hymns. In the process of putting new words to well known tunes, and writing simple but memorable melodies, he gave all the people of Germany, young and old, educated or not, something new to sing. Not only did this create a flourishing and lasting musical culture, it gave subsequent composers a treasure trove of tunes to refer to. Many were immortalised in J.S. TGH Strehlow with Arrarnta elders Bach’s Cantatas and Passions. Nevertheless, Theodor completed his father’s When Carl Strehlow set foot in Australia as a heroic and arduous journey in Australia. Carl’s Lutheran missionary, he took Luther’s message Die Aranda- und Loritja-Stämme in Zentral- to heart. Destined to work in Central Australia, Australien (1907-1920) is still regarded as a and being a gifted and trained linguist, he ground-breaking work, internationally relevant. engaged deeply with the Indigenous languages. Carl also collaborated on the first complete At Killalpaninna he learnt Dieri during the years translation of the New Testament into an 1892 to 94; subsequently at Hermannsburg Aboriginal language (Dieri), published in 1897, (1892-1922) his responsibility as preacher went before embarking on an Arrarnta (or Aranda, hand in hand with the task of understanding and as he transcribed the name) translation, parts living the local Arrarnta language. of which were published after his death. Since His wife, Frieda Keysser, played a crucial role in 1997 the Western Arrarnta Lutheran Hymnal reducing infant mortality amongst Aboriginal (Arrarnta Lyihintja) has been readily available, people. When their sixth child Theodor (‘gift of a more modern and expanded version of the God’) was born, the baby moaned incessantly first Arrarnta hymnal by AH Kempe, Strehlow’s and was not expected to live. During the predecessor. Equally important is the hastily organised baptism, Theodor stopped Pitjantjatjara Lutheran Hymnal (Nyiri Inmatjara moaning and lived to become T.G.H. or ‘Ted’ Lutheran Uwankaraku) published in 2010 by the Strehlow, famous and controversial linguist/ Finke River Mission. 18 Both works are living examples of Indigenous descended from that area. It's a chance for those languages, embodied beautifully by the various in the city to learn their language, often after a choirs in the desert communities. We welcome break of generations. As an outreach from Eora Ntaria’s choir to this festival as they represent College, the Dharawal language, of the region of a direct historical connection to Bach’s Botany Bay down to Nowra and west to around Lutheran community. Above all, the Arrarnta Bowral, is being taught at La Perouse. And in hymn tunes, some older than Bach himself, Sydney, the last speakers of Dharug (also called some coming from other European corners, the Eora language since the mid-1940s) died in were all transformed into something distinctly the early twentieth century. Much effort is being Australian, arguably more Australian than our put into the reclamation of this language too, supposed national anthems, as they contain the in both Sydney central and in Western Sydney. primal cells of Indigenous culture: language. It is one of the most widely known Aboriginal languages in the public domain, and includes Indigenous languages have notoriously suffered words such as: wallaby, dingo, wombat, and also in and around Australia’s urban centres. Coogee (smelly seaweed), Bondi (wave), coo‑ee, Language reclamation is not without its politics, and corroboree. So most Australians already but it is necessary and welcome. At Eora College speak some Dharug/Eora! (an Indigenous College in Redfern, Sydney) the Wiradjuri language is being taught to those Roland Peelman with input from Christopher Sainsbury
The lure of D Minor hat is it about the key of D minor? compositional toil, the choice of D minor WMozart knocked at the gates of hell with inspired some of Bach’s most felicitous and a thundering D Minor sequence in his opera directly appealing work. Don Giovanni. By then, his Piano Concerto So, by choice or necessity, the program of this No. 21 had already delved into the darkest opening concert could well be described as corners of the soul, and he famously returned a minor D Minor fest. From the moment the to the same key in his Requiem. Beethoven’s harpsichord Concerto unleashes its infectious lengthy negotiation with fate during the Ninth energy to the moment when William Barton Symphony is unthinkable without the key of picks up his didgeridoo (in D of course), D D Minor, and many composers since have Minor provides the common thread for our gravitated towards D Minor’s hazy mysteries international bunch of musical guests from or fatalistic overtones. J.S. Bach, however, had Berlin, Lyon, Antwerp, Graz and Hermannsburg. become the D Minor trendsetter long before the To stay in the spirit of the southern hemisphere, ‘dramatic’ connotations of the key appeared on the three Bach fugues in tonight’s concert are the horizon. He was a deep thinker and a superb small miracles of inversion, meaning that they musician, but when it came to instruments, their all use the mirror device. Contrapunctus III mechanics and playing technique, very much applies this in its simplest form, simply turning hands-on and pragmatic. The tuning systems the main theme of the Art of Fugue upside th th of the 17 and early 18 centuries allowed this down connected by free flowing counterpoint. key to sound particularly beautiful: one flat, one Contrapunctus XIIb takes the principle to its sharp, allowing easy change to related keys. The ultimate degree by turning the entire piece of fundamental D gave all stringed instruments music upside down. This topsy-turvy effect an open string, and wind instruments sound combined with the short-long rhythm creates equally happy in the key. From the ubiquitous a craggy piece of work with grim undertones, Toccata and Fugue, the product of a young surely one of the most startling moments in Art daredevil organist, to the Art of Fugue , the result of Fugue. Contrapunctus XV is one of the two of an aging master’s painstaking, systematic genuine three-part fugues, a fast and fleeting 19 feast of a fugue that divides each bar into 12 (4x3 mordant motto, sweeping toccata flourishes, semiquavers), and can be played up or down (i.e. growling harmonic build-ups and sudden normal or inverted). Finally, we have the Toccata theatrical skirmishes. and Fugue in D Minor with its unforgettable Roland Peelman
Bach on keys n important part of Bach’s working life Awas spent at the keyboard: harpsichord at court or at home, organ in church. His church music is generally aligned to the liturgical calendar, and as a result most of his works can be traced to particular dates. In the domain of his instrumental work, however, we enter largely uncharted territory. Apart from the Brandenburg concerti, conceived de novo as a series of six for the court in Cöthen, almost all his other concerti are J.G. Schreiber (1676-1750): Café Zimmermann, adaptions or transcriptions of earlier works, 14-16 Katharinenstrasse, Leipzig, c. 1720 either by himself or by the popular Italians Vivaldi and Marcello. Ever since the early 19th concertos, congenial as ‘Hausmusik’ (‘house century, biographers and musicologists have music’) or as concert music for Leipzig’s been trying to unravel this major tangle of Musical Society and their weekly concerts provenance. at the Café Zimmermann. A well preserved autograph with detailed instrumental parts Often and easily forgotten is the fact that the gives some evidence that Bach took great Concerto for Violin and Oboe BWV 1060 is care in bringing this repertoire into the actually a re-construction, created on the public arena, at a time when Handel’s organ basis of the commonly accepted theory that concerti were being printed and distributed Bach’s double harpsichord concerto from around Europe. The first one of a series of the years 1735-40 was a reworking of a work seven, BWV 1052, was long thought to have for violin and oboe from his Cöthen years. been a violin concerto, until recent scholars The sources that support the theory stack suggested that organ might be the more up rather well, but more convincing is the likely ancestor, probably dating from Bach’s actual music. Both instruments engage in earliest years in Leipzig. Be as it may, the work contrasting and idiomatic ways with material found early champions. C.P.E. Bach himself that is as uncomplicated and direct as one had a copy dating from 1734. Around the year might expect of those Italians composing 1800 C.F.C. Fasch and Sara Levy loved to play concerti at a scale never seen before – it, and they passed the torch to both Fanny except that the musical material is from the and Felix Mendelssohn. Ignaz Moscheles hand of Bach. continued to showcase the piece in London. As a virtuoso keyboard player, Bach did not And if you compare the theme of the last hesitate to adapt Vivaldi and Marcello to movement of Brahms’ Piano Concerto No. the harpsichord or organ. In doing so he laid 1 with Bach’s opening in the same key, you the ground work for what soon became the will understand how influential the work has most popular form of all concerto writing been. The fingers may rule the craft, but the (less than fifty years later Mozart would write infectious energy and joy bundled into these 27 keyboard concerti!). And as his own sons finger patterns guide the heart. developed formidable keyboard skills, Bach Roland Peelman found even more reasons to write keyboard 20 Fitters' Workshop Saturday 4 May 11.00 am
CONCERT 2 WINTHER'S BACH I
Johann Sebastian Bach 1685-1750
Sei Solo à Violino senza Basso accompagnato – Part 1 Sonata No. 1 in G minor, BWV 1001 Adagio Fuga (Allegro) Siciliana Presto Partita No. 1 in B Minor, BWV 1002 Allemanda – Double Corrente – Double (Presto) Sarabande – Double Tempo di Borea – Double Sonata No. 2 in A minor, BWV 1003 Grave Fuga Andante Allegro
Kristian Winther violin
21 Sei solo nlike the Cello Suites (see page 44), to the court and its group of outstanding Uthese six works for solo violin are preserved musicians. Leopold undertook frequent trips in Bach’s own autograph. The manuscript dates with members of his musical entourage in from 1720, and managed to stay in the family tow, and Bach accompanied Leopold on two until about 1852, when it was nearly discarded extended trips to Carlsbad. From the second as butcher’s paper. This yellowing document, of these, however, in July 1720, Bach returned beautifully written in Bach’s unmistakable home to discover that in his absence his wife stroke of pen, is full of precise information Maria Barbara had unexpectedly fallen ill and about the music and the way it applies to the died, and had been buried some days before instrument. his arrival. Bach was known as a formidable keyboard Caution is needed in trying to connect player and improviser, so it is often forgotten momentous events in the composer’s life to that, in the words of his son CPE Bach, "in his specific works. But the violin manuscript is youth, and until the approach of old age, he dated 1720, and the inscription does read: Sei played the violin cleanly and powerfully". Neither Solo à Violino senza Basso accompagnato (Six was there a shortage of gifted violinists in the Solos for Violin Without Bass Accompaniment). places where he worked. The steadily growing ‘Sei solo’ however is not the correct Italian for output of solo violin music around Europe ‘six solos’: it actually means : ‘you are alone’. since the 17th century gives ample evidence of This cryptic allusion inevitably connects the a flourishing violin ‘culture’, supported by the solo works to the tragic circumstances of Bach printing press, the legendary luthier workshops being unexpectedly left alone with four young in Northern Italy and – never to be forgotten – children. opera, an artform that celebrates high notes The six works are substantial: three Sonatas like no other. Musical initiative in the church and three “Partias” (i.e., Partitas) – Italian suites, had started to dry on the vine, ever since the in which he treats the standard order of dances Reformation and the Counter Reformation had quite freely. The first Partita finishes with a decreed the role of music, either in or out of Bourrée (Tempo di Borea), the second Partita favour. The two notable exceptions were the ends with the iconic Ciaccona, taking about Lutheran church, where music was embraced three times as long as any other movement, as a source of common good, and the Italian and the last Partita, though ending with a church centres, where devotion, politics and traditional Gigue, completely deviates from the violin playing went hand in hand. normal suite pattern. But the references are Let’s be clear: Bach did not write these six consistently Italian (up to the last work) as the solo works for the church, even though three titles, form and inscription suggest. As always, of them took the form of a Sonata – that is, the choice of keys is important, governed in Sonata da Chiesa, (‘church sonata’) a four this instance by the four strings of the violin movement sequence of prelude–fugue–slow– (G-D-A-E) with two imaginary strings added: fast popularised in Italy by the likes of Corelli. C, one fifth below G, and B, one fifth above In the Calvinist household of Prince Leopold in E. Bach decided to alternate Sonatas with Cöthen, however, no music was to be inserted Partitas, and this is where the key sequence in the service at all. Hence, for the six years becomes interesting. The cycle starts in G of his employment there, 1717 to 1723, Bach minor, allowing for maximum resonance, and focused solely on secular instrumental work. ends in E major, with four sharps, allowing for maximum brightness, a pinnacle of sorts. The Judging from his output during those years, A Sonata and the D Partita are placed in the the young Kapellmeister with a young family in centre, reflecting the placement of the D and A tow probably brought plenty of joy and vitality 22 strings on the violin. This meant that the work B Minor fugues he wrote at the beginning of the in C ended up as next to last and the work in B Mass in B minor or his 24th Prelude and Fugue. had to take second place if the Sonata-Partita This is the B minor of the Flute Suite, only with alternation was to remain consistent. Thus, the far more stylised treatment. The A minor work four pieces in a minor key start the cycle, and take us back into the Sonata idiom, with a third the two major keys come at the end. movement Andante that in its spare two-part writing emulates an entire orchestra hushed It is worth noting that the ethos attached to in contemplation – or is it seduction? The final different tonalities in Bach’s days had little Allegro uses consistent echo effects, popular to do with simplistic notions of sad vs. happy. in the illusionist style of the Italian masters. In The C major Sonata has always struck me this pithy solo piece as the saddest on four strings Bach moment in this cycle conjures up as much and the tone of the texture, contrast famous D minor and theatricality as Chaconne rises Vivaldi does in his with great grandeur best concertos. above its inexorably descending bass line. The remaining three G major certainly works take all the has an open ‘sunny’ established elements sound on the violin, to yet another whereas G minor level: the D minor has a darker, more Partita by finishing burnished hue. with a monumental Thus the opening Chaconne; the Adagio of the first C major Sonata Sonata is noble and by the scale of ceremonious in its undertaking, its broad chordal particularly in the gestures connected fugue; and the final by sweeping melodic Partita by offering lines, whereas the a playful and fugue that follows unusual sequence plays with simple of dances. Some short building blocks writers have made as if gasping for painstaking analyses breath. Whilst it of these works as stretches the player’s left hand configurations, a Symbolum, a statement of faith expressed the fugue also stretches the listeners’ ability to in abstract instrumental terms, based follow the continuity of its counterpoint and on numerological structures and arcane harmony. In contrast to the seriousness of this architectural proportions. Of course there opening Sonata, the B minor Partita launches are many signs of Bach’s architectural immediately into sprightly dance. All four pieces mastermind, not only in the elaborate arch- of this suite set high technical demands, and form of the Chaconne, 64 variations on a theme then more – as each movement has a ‘double’, a constructed upon a descending four-note bass variation that goes as far as doubling the tempo line (a ‘lamento’ formula which Monteverdi in the case of the third movement Corrente. and Purcell had famously exploited a century Far removed are the pleading tones of the great prior), but also in the subject of the C major
23 fugue. The theme of this unusually extended befell the composer. In the course of his life, fugue is related to the Lutheran chorale "By the words of the Bible and the Lutheran hymn the waters of Babylon", a melody that also book always served as a fitting response to happened to serve the passion chorale "There life’s calamities, be it the loss of a child or a goes the Lamb that carries our guilt" in Bach’s loved one. But what exactly went on in 1720 day. Whereas the Chaconne can be heard as a no-one has been able to accurately trace or tripartite structure of 33, 19 and 12 variations, describe. These six solo works were written/ it can also been seen as a bipartite canvas finished at the time, and either they are a of a theme (stated twice) followed by 30 personal tribute to Maria Barbara (or to the variations, the framework he would return to in four surviving children that reminded him the Goldberg Variations. The fugue’s intricate of her), or the pieces are the fulfillment of a web of subject, countersubject (a chromatic personal aspiration to transcend the limits descent) and episode material is dramatically of a notoriously difficult instrument, or some reversed in the 200th bar as he writes: quest to turn fundamental principles of faith "al riverso". into notes. All or none of the above. But one thing is sure: he found himself alone upon In the end, words will continue to fail in returning to Cöthen, and gave his manuscript describing what these six solo works signify, the title: Sei solo. just as we may presume that words failed in the face of the unexpected tragic loss that Roland Peelman
WE ARE FRANCE IN CANBERRA!
Autumn Session 29 April - 6 July
Young learners & Adults Learn French with the French experts !
Get more info on our classes and sign up on afcanberra.com.au Alliance Française de Canberra - 66 McCaughey Street - TURNER ACT 2612 Tel: 02 6257 6696 - [email protected]
24 Fitters' Workshop Saturday 4 May 2.30 pm ALLIANCE FRANÇAISE PRESENTS with the support of the French Government, Le Bureau Export and Adams Percussion CONCERT 3 SHALL WE DANCE?
Antoine Forqueray 1672-1745 Trio SR9 Allemande - Première pièce pour trois violes Paul Changarnier George Frideric Handel 1685-1759 Nicolas Cousin Courante from Suite no. 4 in D minor, HWV 437 Alexandre Esperet Domenico Scarlatti 1685-1757 marimbas Gavotte – Sonata in D minor, K.64
Jean-Philippe Rameau 1683 -1764 Sarabande from Suite in A
Henry Purcell 1583-1764 Menuet
François Couperin 1668-1733 Bourrée - Les Nations "L'Impériale"
Johann Sebastian Bach 1685-1750 Gigue from French Suite no. 5, BWV 816
Claude Debussy 1862-1918 Tarentelle Styrienne
Béla Bartok 1881-1945 Romanian Dance no. 1 Op. 8a
Alexander Borodin 1833 -1887 Polovtsian Dances from Prince Igor
Manuel de Falla 1876-1946 Ritual Fire Dance
François Tashdjian b. 1974 Narnchygäer
This concert is supported by KOULA NOTARAS, JENNY & EMMANUEL NOTARAS
25 "Be silent, and dance!" hese are Elektra’s last words in the opera by the Italian Scarlatti and the Germans Handel TStrauss and Hofmannsthal. They summon and Bach. Even though baroque dances were up the power of dance, its vital strength, not always intended to be danced, they belong mystic and symbolic. When her brother Oreste to a long tradition of dance music, printed out in takes their revenge by killing their mother the form of tablature since the beginning of the Clytemnestra and her lover Ægisthus, Elektra Renaissance. feels elated and victorious. No more talking, In the 19th century folkloric dances inspired nothing more to be done but dance. She calls many composers to travel to exotic or imaginary on everybody to join her and form a circle. The places. In that respect, the Styrian Tarantella flood of energy is so strong that it kills her. But (1890) by Claude Debussy is a hybrid between her dancing is joy, triumph and trance, probably southern Italy, where the tarantella comes madness too. from, and southern Austria, where the region of Philosophers have always considered dance to Styria is located. Central Europe is represented be a stylisation by Bartók’s of movement Romanian related Dance (1910) to music. and, travelling Nietzsche’s further East, Zarathustra the Polovtsian declares that Dances (1890) he could only by the Russian “believe in Borodin are a God who imaginative could dance”, recreations of Mariinsky Ballet: Polovtsian Dances because the dances of dance transforms heaviness into lightness, and a former nomadic tribe in the northern Black Sea that is the mission of Dionysus, the God of the area called the Cumans. life instinct. Nietzsche summarizes his thoughts The story of David dancing in front of the Ark in The Gay Science when he says: “I do not see has animated Christian spirituality for more what the spirit of a philosopher could desire than a thousand years. Dance has always been more than to be a good dancer”. The poet associated with religion, magic and the cult of Baudelaire gives his own definition: “It is poetry the dead. In Manuel De Falla's Ritual Fire Dance, with arms and legs, it is the material, gracious and from his ballet El Amor Brujo (Love the Magician, terrible, animated and elevated by movement”. 1915), the young gipsy Candela dances himself This program travels through three dimensions into a magic trance to make contact with the of dance: baroque dance suites, popular dances spirits. This recital concludes with Narnchygäer, and mystical dances. Satie’s Crooked Dances a work by the French composer of Armenian (Danses de travers, 1897) form the common origin François Tashdjian, who imagines a three- thread running through the different stages of headed devil leading his victims into a dance of this itinerary. death. The baroque suite invites us to travel across 18th Now, shall we dance? century Europe with the Frenchmen Forqueray, Nicolas DUFETEL Couperin and Rameau, the Englishman Purcell,
26 Fitters' Workshop Saturday 4 May 5.00 pm
CONCERT 4 WINTHER'S BACH II
Johann Sebastian Bach 1685-1750
Sei Solo à Violino senza Basso accompagnato –Part 2 Partita No. 2 in D minor, BWV 1004 Allemanda Corrente Sarabanda Giga Ciaccona Sonata No. 3 in C major, BWV 1005 Adagio Fuga Largo Allegro assai Partita No. 3 in E major, BWV 1006 Preludio Loure Gavotte en rondeau Menuet I Menuet II Bourrée Gigue
Kristian Winther violin
27 28 Fitters' Workshop Saturday 4 May 8.30 pm ELITE EVENT TECHNOLOGY PRESENTS with the support ofthe Cultural Division of the Ministry of Foreign Affairs of Chile and the Embassy of Chile In Australia CONCERT 5 LATIN ROMANCE
Ay amor! Gonzalo Celis, 2016 No tiene caso Matías Piñeira/Raphael Donoso/Tomás Peralta, 2017 No! Matías Piñeira, 2017 Lejos de ti Matías Piñeira, 2016 Mate y cumbia Pablo Pérez, 2016 Mis lágrimas Matías Piñeira, 2017 Ven ven ven Gonzalo Celis, 2015 Abrázame Matías Piñeira, 2016 Algo en común Matías Piñeira, 2016 Corazón Gonzalo Celis/ Matías Piñeira, 2015 Bésame mucho Consuelo Velázquez, Mexico 1940 Contigo en la distancia César Portillo de la Luz, Cuba 1946 (bolero) El reloj Roberto Cantoral, Mexico 1956 (bolero) Mix Bachatero: Para que no me olvides Los Cuatro de Chile, Chile, 1970, on a poem of Oscar Castro Señor abogado Lucho Barrios, Peru Quizás quizás quízas Osvaldo Farres, Cuba, 1947 Los Pitutos:
Alvaro Zambrano piano, vocals, guitar
Matías Piñeira horn, trumpet, vocals
Pablo Camus guitar, vocals
Tomás Peralta double bass
Cristian Betancourt percussion, vocals
This concert is supported by MARGARET and JOHN SABOISKY
29 Los Pitutos n 2015 six Latin American musicians based in American continent, the forgotten music that IBerlin founded a new group called Los Pitutos. preceded the waves of salsa, tropicalismo and The word has many meanings, particularly in pop-influenced folk genres. Early appearances Chile, including small tubes, perks, contacts, in the Berlin clubs, and soon after on the stage smurfs etc… Their common background and of the Berlin Philharmonie caught attention. musical roots in Chile and Colombia, away By 2017, Los Pitutos was giving performances from home, triggered a fiery melting pot of new throughout Germany, including the Schleswig rhythms and textures. They set out to breathe Holstein Festival. In 2018 the group released its new life into the old-school romantic Boleros, first self-titled album with original tracks, all but Cumbias, Joropos and Waltzes of the South one created by members of the ensemble.
Alvaro Zambrano is a classically trained opera Tomás Peralta works as a freelance double bass singer (tenor) with a long experience as a soloist player and composer in Berlin, after studies of the ensemble of the Deutsche Oper Berlin. in Argentina, at the Royal Conservatory of The Hague and the Music Conservatory in Freiburg. Matías Piñeira was the youngest horn player at the Symphonic Orchestra of Chile, academist Cristian Betancourt, from Bogotá (Colombia), of the Staatskapelle Berlin, and is currently First initiated his studies in classical percussion Horn at the Munich Philharmonic. and Latin- American drums in Venezuela and Colombia. Since 2013 he has been a student Pablo Camus studied classical and electric at the University of the Arts in Berlin and also guitar, and earned the title of Professor of pursues the career of a freelance percussionist. musical arts at the Mayor Universidad of Chile. After tours through South America, he moved to Berlin, where he plays in different projects with music from Cuba, Chile, Brasil and Mozambique.
30 Fitters' Workshop Sunday 5 May 11.00 am
CONCERT 6 BACH'S ORBIT
Antonio Vivaldi 1678–1741 Bach Akademie Australia Violin Concerto RV 208 ‘Grosso Mogul’ directed by Allegro Madeleine Easton solo violin Recitative Grave Anna Fraser soprano Allegro Hannah Fraser mezzo-soprano Dietrich Buxtehude 1637-1707 Mit Fried und Freud ich fahr dahin, BuxWV 76 Susannah Lawergren soprano Contrapunctus I & Evolutio I Andrew Fysh bass Contrapunctus II & Evolutio II Klaglied Tommie Andersson lute/guitar
G.B. Pergolesi 1710-1736 Korneel Bernolet harpsichord /organ Stabat Mater directed by Stabat mater dolorosa Roland Peelman Cujus animam gementem O quam tristis et afflicta Quae moerebat et dolebat Quis est homo — Pro peccatis suae gentis Vidit suum dulcem natum Eja mater fons amoris Fac ut ardeat cor meum Sancta mater, istud agas Fac ut portem Christi mortem Inflammatus et accensus Quando corpus morietur — Amen
This concert is supported by MARJORIE LINDENMAYER
31 Bach’s musical library ong before the age of copyright laws and Music of the South spread through different Lnotions of intellectual property, the art of means. Many courts in Germany and France adapting, recycling or transcribing music was employed Italian musicians, and the printed alive and well. For lack of inspiration or lack music of the more famous Italian composers of time, the creative use or re-use of existing such as Corelli, Vivaldi and Marcello had music always remained the simplest way of found a ready market around Europe. When meeting a deadline. Let’s not forget, too, that Bach joined the Weimar court in 1707, Vivaldi a budding young musician in the 18th century was all the rage. Bach ended up transforming habitually spent many hours copying out parts several of the Vivaldi violin concertos and by hand. Marcello oboe concertos into new concertos The young Bach would have been subjected for keyboard, leaving the structure of the to similar routines, and like any gifted young music intact, but often putting them in a new artist, he was curious to discover more. As key (transposition) and adapting the inner a twenty year old, he walked more than 400 parts. Bach scholars as far back as Bach’s first km to Lübeck to hear the biographer Johann Nicolaus legendary Buxtehude play Forkel drew attention to the and, as he later explained, unmistakable influence the "to comprehend one thing Italians had on Bach, through and another about his art". their focus on sound and Handel and Mattheson who colour rather than complex undertook similar trips stayed structure. Bach’s own one day. Bach stayed almost concertos wholeheartedly three months, incurring the adopt the three-movement wrath of his employers back format of the Italians, and home. Since the elderly when, later in life, a score of Buxtehude was looking for Pergolesi’s Stabat Mater fell a successor and a husband into his hands, he revisited his for his daughter Anna transcribing days by coining Margaretha as well, any long Antonio Vivaldi the German text of Psalm 51 term prospects in Lübeck soon lost their shine, onto Pergolesi’s mellifluous Passion drama. but the skill of this most prominent exponent of It became the cantata Tilge, Höchster, meine the Northern organ tradition left its mark. Sünden, BWV 1083.
The Great Mogul or someone who lived with the nickname set as an opera? Was it a reference to Akbar F‘Red Priest’, the enigmatic tag of ‘Great the Great (1542-1605), legendary emperor Mogul’ for a violin concerto may not come as of the Mughal empire known for his military a total surprise. Was the title a reference to prowess as well as his patronage of the arts? the colourful Venetian poet, theatre hack and Or was it, in true Tin-Tin fashion, the name of jack-of-all-trades known as Domenico Lalli a most precious diamond? – Whatever the (pseudonym of Sebastiano Biancardi, “born source, the special effects and sheer spectacle rich and died a poet”) who produced a libretto (improvised cadenzas included) of this Vivaldi for Francesco Mancini in 1713 under the title ‘Il concerto make it well deserving of such a gran Mogol’ which Vivaldi himself would later grand title.
32 Buxtehude and the funeral rom the sea-side Hansa port of Lübeck, superintendent at St Mary’s, Menno Hanneken. Fthe Danish born Buxtehude built a When his own father died three years later, magnificent oeuvre of vocal work, organ Buxtehude found a new purpose for it, adding pieces and instrumental work that formed an additional plaint or Klaglied. The cantata the model for much of Bach’s later work. His is most remarkable, however, as none of the presence at the church of St Mary from 1668 parts are specified for a particular instrument. to his death became legendary and prompted The titles of the movements (Contrapunctus many an aspiring young composer to pay followed by Evolutio) also point towards a the old master a visit. The 20-year-old Bach level of abstraction which Buxtehude either stayed more than three months absorbing inherited or wanted to display as a tribute to Buxtehude’s craft and style (but rejecting his seniors. Contrapunctus is exactly the word his daughter). The small cantata ‘Mit Fried Bach would use for the numbers in the Art of und Freud ich fahr dahin’, based on Luther’s Fugue: pure counterpoint, but with a purpose hymn, started as funeral music in 1671 for the nonetheless. Pergolesi's Stabat Mater he name Pergolesi derives of text in remarkably vivid and Tfrom the town of Pergola often heart-tugging music. in Le Marche region of Italy. Even though much material Born in Iesi, young Giovanni was recycled from earlier work, Battista, slightly handicapped text and music are remarkably and forever in poor health, well grafted onto one another. had music flowing through From the consecutive his veins - his comic opera La harmonic suspensions of the Serva Padrona a case in point. opening movement to the By 1735, the respectable but final fugue, Pergolesi exploits sorrowfully named Cavalieri violins and voices equally in della Vergine dei Dolori di San painting the sword that pierces Luigi al Palazzo wanted to the heart of Jesus dying on the replace Alessandro Scarlatti’s Giovanni Battista Pergolesi Cross, the heart of Mary as she twelve year old Stabat Mater witnesses her Son’s crucifixion with a new version. The text, attributed to and ultimately the heart of the listener. Jacopone da Todi (13th century), evokes the Mater Dolorosa, Mother of Sorrows, standing The tragic story of a composer at such tender at the cross. The sequence had been banned age writing the score on his deathbed only by the Council of Trente during the heyday partly explains the immediate and enduring of the Counter-Reformation purges, but was popularity of this work. Immediate, since reinstated by Pope Benedict XIII in 1727. So it the work was to become the most widely th was that the 25-year-old composer, by then distributed composition in 18 century terminally ill in a Franciscan monastery in Europe, Catholic and reformed alike. Pozzuoli, summoned his remaining energies Enduring, because Pergolesi’s setting is to make a new setting for two voices and arguably the most memorable version of this strings: a work specifically for the offices of text, compelling from the first to the last note, Good Friday referring to Simeon’s prophecy a perfect conduit for human compassion as that a sword was to pierce the heart of Mary. well as beautiful voices. Twelve movements emerged alternating solo Roland Peelman voice and duet, capturing the spirit and letter 33 Canberra’s preferred audiovisual partner
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34 National Gallery of Australia Sunday 5 May Gandel Hall 2.30 pm DOMA HOTELS PRESENTS with the support of the Goethe Institut CONCERT 7 BARBARA BLACKMAN FESTIVAL BLESSING
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William Barton b. 1981 with Véronique Serret Ntaria Choir Heartland (WP) sonic.art saxophone quartet Johann Sebastian Bach 1685-1750 Italian Concerto, BWV 971 William Barton didgeridoo Allegro – Andante – Presto Véronique Serret violin Chris Sainsbury b. 1963 Bark of the ‘bidgee (2018-19) (WP) Sally Walker flute Commissioned by A Major Lift Bark of the ‘bidgee Sky Dancing Callum Henshaw guitar Lanyon Deep secrets Ripple ripple Bach of the ‘bidgee Bree van Reyk percussion Johann Sebastian Bach / Kalevi Aho b. 1949 Contrapunctus XIX from Art of Fugue, BWV 1080
+ Hire & Production Ntaria Choir sings Jesuai nhau-urna pitjai (Jesus Christ, turn to us) – in Western Arrarnta th + Installation & Maintenance After 17 century German chorale ‘Herr Jesu Crist, dich zu uns wend’ Godanya Nganampa Mayatja – in Pitjantjatjara + Equipment Sales Original song (ca. 2003) by Petrina Windy, words by Petrina & Caroline Windy and Hollie Webb Mayatjaluni kanyilpai (The Lord is my Shepherd) – in Pitjantjatjara + Technical Direction After Scottish Psalter (1650), based on Francis Rous (1641), melody by G.T. Smart 1776-1867 Enka ntjaap’ra nukai (O Bless the Lord My Soul) – in Western Arrarnta + Event Management After Isaac Watts 1674-1748 and Aaron Williams 1731-1776 Nurna wurlerrama (Thanks to the Lord) – in Western Arrarnta Event Styling + Traditional round, origins unclear Kaarrerlai, wurlamparinyai! (Wake, Awake, for Night is Flying) – in Western Arrarnta After Philipp Nicolai 1556-1608 and J.S. Bach The concert is followed by 02 6260 2311 | eetechnology.com.au Roland Peelman in conversation with Chris Sainsbury, William Barton and the Ntaria Choir This concert is supported by ANDREW BLANCKENSEE WP – WORLD PREMIERE
35 Hermannsburg, Northern Territory ermannsburg lies on the Finke River within Severe droughts during 1897-8 and again in Hthe rolling hills of the MacDonnell Ranges 1903 meant poor food production and an in the southern Central Australia region influx of Aboriginal people. The Strehlows left of the Northern Territory. Hermannsburg in 1922 due to ill health, and the mission was was established on 4 June 1877 at a sacred site known as Ntaria. It was conceived as an Aboriginal mission by two Lutheran missionaries, A. Hermann Kemp (or Kempe) and Wilhelm F. Schwarz of the Hermannsburg Mission near Hannover in Germany. They travelled half way across the globe to Adelaide, and then overland from the Barossa Valley, arrriving with 37 horses, 20 cattle and nearly 2000 sheep, five dogs and chickens. Hermannsburg Mission Construction began on the first building in late again without a missionary until Pastor Riedel June 1877 made from wood and reed grass. By arrived in late 1923 followed by Pastor Friedrich August a stockyard, kitchen and living quarters Wilhelm Albrecht in 1926. Drought struck again were completed. in 1927 causing ill health and scurvy. There was yet another influx of Aboriginal people and 85 Contact with Aboriginal people in those first few per cent of Aboriginal children died during this months was scarce, although their activities time. A delivery of oranges was considered "a were being observed. At the end of August a miracle". group of 15 Arranda men visited the mission camping near the settlement. Albrecht was integral to the development of the Kaporilja Water Scheme which piped water Realising that communication was difficult, six kilometres to the mission from a permanent the missionaries set themselves to learn the water hole. Albrecht also developed various local language, over time developing a 54-page other enterprises such as a large vegetable dictionary of 1750 words which was published in garden and orchard, beef cattle ranching and 1890. A third missionary, Louis Schulze, arrived a tannery. He supported the development of in Adelaide in October 1877 accompanying the school of watercolour landscape artists, the wives of Kemp and Schwarz. By 1880 a foremost among whom was Albert Namatjira. church was constructed with the assistance of Aboriginal labour. By 1887 as many as 20 young The language became known as Arrarnta in people were baptised. 1980. There has been a very long history of vernacular literacy in the community, beginning While the population fluctuated, there soon after 1877. The recent Western Arrarnta were always about 100 people living at the Picture Dictionary, published 2006, is just one mission as pastoralism increased and racial publication in a long and rich tradition of reading issues developed. By 1892 all the founding and writing in the local Aboriginal language. missionaries had left due to health issues and personal tragedy, and the settlement The mission land was handed over to traditional was continued by lay workers until Pastor ownership in 1982 under the Aboriginal Land Carl Strehlow arrived in October 1894 with his Rights Act. In 2006 the Hermannsburg Historic wife Frieda. Carl Strehlow and, later, his son, Precinct was listed on the Australian National T.G.H. Strehlow, created detailed recordings Heritage List. Today ownership of the Precinct of the Aranda language and culture. The high is in the hands of the local Western Arrarnta esteem in which they were held by the Aranda people represented by the Hermannsburg people made it possible for them to produce Historical Society, with the Finke River Mission these records, which still provide a baseline acting as managers. The Lutheran church documentation for ethnographic research. maintains an active role in the community. 36 Chris Sainsbury b. 1963 Bark of the ‘bidgee (2018-19) (WP) he six movements of this new work are a narrative is represented by the infrequently Tmusical exploration of the Murrumbidgee heard bi-tonal scale B-flat B C D E F-sharp A River as a boundary between two cultures since C F and B. It yields melodies and chords that the early 1800s, that of Aboriginals and white are distinct, even unusual, unknown. The use settlers. The river is a place of deep secrets of Western scales and forms in the second and mystery, but ultimately also a place of and last movement represent the incoming potential harmony between the cultures that settlers/invaders around the Murrumbidgee. At now live along its shores. There is a suggestion the outset of Bark of the ‘bidgee, the flute line of corroboree and ceremony, the river as a suggests the pristine environment of Aboriginal previously pristine place inhabited by Aboriginal life prior to settlement. By the time the work people, but also as a site of the music and finishes, an original Indigenous tune is featured dances of new settlers/invaders. over a passacaglia bass, perhaps in hope of harmony between the two cultures. The two cultures in the work are represented by different pitch material. The Aboriginal cultural Chris Sainsbury
Bach on sax he flexible nature of the saxophone sound the German Organ Mass (Part III, extracts to be Tand its utterly mellifluous texture when heard in ‘Bach the Teacher’ on May 10), and the combined in quartet opened up the Bach immortal Goldberg Variations (Part IV). With the repertoire several decades ago. Ever since exception of prelude and fugue, this collection Canadian Brass issued an astonishing brass represents all the existing genres and forms quartet version of the Art of Fugue, brass and current in Europe at the time. saxophone quartets What makes this around the world have concerto Italian is been adapting Bach to the simple three- the new medium. movement lay-out and Our Berlin-based guests its infectious upbeat are no exception. Their character. What makes Bach repertoire ranges the work a concerto, from small chorales to however, is more the grand constructs interesting: the use of of major works such contrasting levels of the Italian Concerto sonic.artsaxophone quartet sound exploiting the BWV 971 and the monumental final fugue from possibilities of a double manual harpsichord. the Art of Fugue. The former, originally titled Musical dynamics in Bach’s scores mostly Concerto nach Italienischen Gusto (Concerto in depend on what instruments are used (baroque the Italian taste), was published in 1735 together flutes being amongst the softest and trumpets with the French Overture as the second part of being the loudest) and how many instruments Clavier-Übung, Bach’s massive statement about or how many notes are combined (the more keyboard practise. Its pedagogical purpose notes the louder, the less notes the sparser the is evident in the title (Übung being exercise), texture and the softer the dynamic). To play its artistic compass broad and overarching: a with specific contrasts on a single instrument series of six suites, called Partitas (Part I, not is fairly rare, but there are indications in the represented in the festival), the combination of last twenty years of his career that the use of a Italian concerto and French Overture (Part II), double manual and the use of contrasting forte 37 and piano was either an increasingly desirable or at this point. The more realistic explanation is increasingly specific element. that Bach completed Art of Fugue well before 1750, and either had not found the energy In the Art of Fugue, contrasts are created to complete the fugue, or had left the work between the individual fugues through tempo, deliberately incomplete as an open invitation to rhythm, mode of playing and, most importantly, other composers. The most logical conclusion the actual architecture of its counterpoint. is that the mother-theme should return as The final fugue, Contrapunctus XIX, features fourth subject and tie up all the previous three very distinct subjects of which the third material in an intricately fitting finale. Indeed, is based on the composer's name B–A–C–H many composers have turned their attention (B-flat–A–C–B in English). At the very point we to this particular challenge, including Luciano expect something new to arrive or the three Berio and Vyacheslav Gryaznov. Today’s ending subjects to be combined, the notes stop in was composed in 2011 by the Finnish composer their tracks. Unsurprisingly, this has given rise Kalevi Aho. to endless speculation. The romantic version is that the master’s earthly life came to an end Roland Peelman
38 Fitters' Workshop Sunday 5 May 6.30 pm With the support of the French Government CONCERT 8 THE THREE Bs
Johann Sebastian Bach 1685-1750 Quatuor Voce From The Art of the Fugue Sarah Dayan violin Contrapunctus V Cécile Roubin violin Contrapunctus XIIa Guillaume Becker viola Lydia Shelley cello Ludwig van Beethoven 1770-1827 String Quartet op 74 in E flat major ('Harp' Quartet) with Poco adagio – Allegro Adagio ma non troppo James Wannan viola Presto Allegretto con Variazioni
INTERVAL
Anton Bruckner 1824-1896 String Quintet in F Major Gemäßigt Scherzo Schnell - Trio Langsamer Adagio Finale Lebhaft bewegt
This concert is supported by DIANNE and BRIAN ANDERSON
39 A question of lineage A deep German vein has long flowed through music from around 1600 than the fashionable our musical consciousness. Whether we blame galant writing people expected in the 1740s. Bach, or Beethoven, or Goethe, or Luther – the But as the fugue theme now features all the sheer weight of the central European artistic possible passing notes, its flowing tapestry and philosophic legacy is impressive, evidenced of melodic threads both ascending and by the simple facts of Germany’s and Austria’s descending (‘rectus et inversus’ as the heading state-sponsored musical infrastructure today. says) has given many a pointer to those 19th The story of the German-speaking people century composers seduced into emulating building a remarkably coherent musical cultural the Leipzig cantor. The idea of creating a against the odds of religious sectarianism musical mirror image is taken to its extreme in prompted by the Reformation, centuries of Contrapunctus XII, a wilfully iambic construct anti-Semitism and the ugly destructive face of in triple time, not nationalism in more recent times is compelling. so much a tapestry Catholic, Protestant and Jewish traditions as a sculpture. The found common place in the German language, piece is composed a highly structured and notoriously convoluted so that it can be idiom that lends itself to abstraction and played in two ways. idealistic reasoning. Call it logic conspiring with Its mirror image a heavy dose of dreaming, and you get some (meaning that of the greatest scientific discoveries of the each ascending Western world (Copernicus ca. 1500, Kepler ca. interval becomes 1600, Einstein ca. 1910). Call it the architecture descending and of sound and you get Bach and Beethoven. Johann Sebastian Bach vice versa) is featured in the May 3 opening concert, a note Historically speaking, around the time when for note inversion that would never fit a string reformed and non-reformed circles were quartet. beginning to fall into some form of modus vivendi, a gradual merging of taste allowed the Bach did not specify this music for string Italian music, increasingly popular and present, quartet. The possibilities of that classic to leaven the seriousness of the Northern combination only emerged in the second half organ tradition that maintained contrapuntal of the 18th century. By the time Beethoven discipline at all cost. The 17th century master wrote his tenth quartet in 1809, the genre was Heinrich Schütz had the good fortune of being well established as a four movement sequence able to soak up Venice’s riches first hand in his reflecting similar symphonic advancements youth. By the time of his death in 1672 he had in chamber format. His early string quartets left a musical culture behind in Dresden that Op. 18 had given the world a youthful answer to was without parallel, a first example of this the Haydn and Mozart oeuvre which he took into great fusion of North and South. Bach never ever more personal territory in the Razumovsky strayed beyond the realms of Saxony, Thuringia quartets. The inward focus of four homogenous and Prussia, but absorbed similar aspects of instruments led by the violin, the instrumental musical fashions around Europe and their prima donna of the era, had brought scrutiny historic roots and concentration to the building blocks of musical dialectic. In abstract musical terms, This concert starts with Bach channelling what Beethoven created fell nothing short of centuries of counterpoint from the what Hegel and Kant had formulated in words. Netherlands in two extracts from The Art of The creative material of this quartet may well Fugue. Contrapunctus V is what we might call seem simple (as for Bach’s Art of Fugue it ‘retro’ music, more akin to the viol consort boils down to a broken triad), but the process 40 is anything but music bridge structures as well as a propensity simplistic. towards pedagogical work. But one musician, a country village organist in Austria, riddled by Traditional wisdom self-doubt, hampered by OCD, barely equipped of sonata form – the to function in the real world, did aspire to wear juxtaposition of two God’s mantle. themes followed by development Anton Bruckner’s rise to fame came belatedly and re-exposition and slowly. He found his feet in religious work – serves as a mere associated with the monastery of St Florian starting point for and, once turned forty, after studying the music the greater organic Ludwig van Beethoven of Richard Wagner, ventured into the massive play of musical symphonic projects we know him for. By the ideas and gestures. The work’s opening Poco year 1868 he was based in Vienna teaching adagio might well be an introduction but its music theory and counterpoint. His musical intensity and suspended tension explains vision, grand and naïve in equal measure, stems the abrupt nature and propulsive energy of from a sacred belief in the beauty of God’s the allegro material. Not until all elements are creation and the composer’s sacred duty to nearly exhausted does this movement find its reflect and match true purpose: a coda that combines the idea such transcendental of the beginning with the pizzicato figures that glory. Human efforts have given the work its title (‘Harp’), taking the barely measure up, first violin on a surprisingly extended solo track and poor Anton found challenging our sense of normality. The third himself endlessly movement scherzo is equally idiosyncratic revising and improving in rhythm, texture and demeanour. Often his symphonies. In compared to the scherzo of the Fifth symphony, comparison, the birth this is music that bursts out of its own seams, of a string quartet destroying any pretence of light interlude that came with relative the traditional minuet/scherzo constituted ease. Except for the within a string quartet structure. Interestingly, fact that it became these two very idiosyncratic movements are a quintet, the work, balanced out by music that is surprisingly once a second viola Anton Bruckner logical and self-contained: a classic Adagio was added, gave him free rein, harmonic that restores serenity amongst the four players latitude with inner parts giving it the density after the exertions of the opening movement, and darkness of texture that defines its unusual and a reassuring Theme and Variations, a rare and idiosyncratic nature. occurrence in Beethoven’s string quartets. Composed between December 1878 and July If, in the words of Wilfred Mellers, Bach is the 1879, the quintet exploits organic development Dance of God and Beethoven represents the of motives and themes informed by Bach’s Voice of God, wearing God’s mantle in the contrapuntal wizardry, Beethoven’s handling subsequent era of religious scepticism would and manipulation of the Sonata form and daring seem a near impossibility. The conservatively modulations that come out of Schubert’s and minded Brahms, keen on counterpoint and Wagner’s combined manual. The scherzo as rarely less than serious, is often mentioned in second movement does not attempt to match the same breath. Enthusiastic Bartók scholars the apocalyptic dimensions of his symphonies, even promoted the Hungarian composer as opting instead for a central Ländler (think ‘waltz’ a worthy successor, though utterly secular, for country folk). In the finale, Bruckner plays because of his commitment to balanced with three themes, pushing the boundaries 41 of traditional chamber music in scale and Suffice it to say that the work has remained capacity. Joseph Hellmesberger, the violinist a particular challenge for string players ever who had initiated the work, complained of since. More than any Brahms quintet or sextet “regular finger pain” when faced with the score. though, Bruckner’s Quintet picks up the musical The scherzo was considered altogether too narrative of Beethoven’s late string quartets. hard, prompting Bruckner to write a simple Informed by Bach’s contrapuntal mastery and alternative, the Intermezzo in D. The Winkler Wagner’s harmonic innovations, somehow, this Quartet eventually played the premiere, “half genius, half simpleton” (according to Hans scherzo included, in November 1881 in the von Bülow) crept under the skin of the great Bösendorfer Hall of the Vienna Musikverein Germanic traditions and in the most unlikely Wien, whilst the Hellmesberger Quartet took manner prepared the way to the future. a few years more to get it under their fingers. Roland Peelman
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42 St. John's Anglican Church, Reid Monday 6 May 8.30 am IN ASSOCIATION WITH ST JOHN’S CANBERRA FESTIVAL EXTRA BACH FOR BREAKFAST #1
8.30 am Pastries, tea and coffee
9.00 am Johann Sebastian Bach 1685-1750 Cello Suite no. 6 in D BWV 1012 Prelude – Allemande – Courante – Sarabande – Gavotte – Gigue
Danny Yeadon baroque 5-string cello
9.30 am Roland Peelman in conversation with Danny Yeadon and Madeleine Easton
“Such a difference one extra string can make. The E-string is completely different to the usual four – it demands meticulous craftsmanship, often a lightness of touch in contrast to the earthy lower strings. As a viola da gamba player I find myself in danger of defaulting to gamba fingerings on the 5-string cello, so the concentration required to differentiate is huge! Despite the technical challenges, playing this suite is always intensely spiritual.” - Danny Yeadon
Daniel Yeadon appears courtesy of The University of Sydney, Conservatorium of Music, Sydney
43 A Suite of Bach hen the 13-year-old Pablo Casals came No performance indications, no technical Wacross a battered copy of an old German hints, no bowings or articulation. Suffice to say edition of the Bach Cello Suites in a reject that, over more than 100 editions and over 200 shop in Barcelona, he barely realised what he odd recordings later, the floodgates of opinion had stumbled upon. The year was 1890 and, were well and truly opened. edited by Friedrich Grützmacher, Bach’s cello People have argued that the cello at the time lines were embellished with additional chords of Bach’s writing was only an accompanying and ‘improvements’ that suited the taste of the instrument and that it was Bach’s great time as much as the editor’s prowess on the achievement to emancipate the instrument at cello. Casals' discovery didn’t exactly pave the last as a solo instrument. This narrative more or way towards ‘pure Bach’, but it did start a life- less negates the entire preceding century when long commitment to these works lasting well most instruments of the cello family (lirone, into the tenth decade of his life. viola da gamba in all shapes and sizes, viola da After another thirteen years of practise, young spalla etc) were celebrated solo instruments Pablo famously started performing these as well as solid bass partners. By the beginning works in public, although his first recording did of the 18th century the various forms of gamba not eventuate till the turbulent years 1936-39, did start to lose some of their currency whereas well out of earshot from Franco’s the cello, more standardised advancing squadrons. All cellists and less cumbersome, became of rank have since made their more fashionable. But Bach was statement in these pieces, often fascinated with the technical more than once, and sometimes aspects of all instruments, including even inside the theatre of war. the quirks and characteristics of Many of them regard the suites as a the ‘archaic’ models. Their specific bible, a rite of passage, an essential sound quality was often called upon touchstone, even a milestone in for very particular moments in his their career. Over 200 complete Cantatas and Passions. In 1736 recordings now exist, either by Pablo Casals three Sonatas (not Suites!) for the cellists in the 20th century romantic tradition gamba ensued, and with bass. Some writers to period specialists who will have investigated also have tried to connect the six cello suites the technical details of the instruments likely with Bach’s religious convictions because used in Bach’s days, the nature and tuning working in Cöthen exclusively on secular of the strings, the concept and aesthetics of instrumental work didn’t make him a heathen, sound, the important chordal features of the just as working in Leipzig as Cantor did not turn works, and, most importantly: the actual text. him into a theologian or a Pastor. In contrast to the Violin Sonatas and Partitas, Bach was a composer who saw the hand of God no autograph exists of the cello Suites. The (or ‘the dance of God’ as Wilfred Mellers had it) manuscript in the hand of Anna Magdalena, in everything he did. His gift and vocation as a Bach’s second wife and regular copyist composer was as much a sacred responsibility throughout those Leipzig years, has served as the work he owed to the community or as a main source. Three more handwritten his family. Instruments and voices were all copies survive from the 18th century but rather part of his grand plan, itself a reflection of the than clarifying some of the problem spots in Creator’s original plan. For the keyboard he Anna Magdalena’s copy, they only added to wrote French Suites, English suites, Partitas, the confusion about the correct text and its Fantasias, Preludes and Fugues. For the Cello interpretation. Anna Magdalena’s title page, he settled on Suites, unspecified, ostensibly covering both the violin and cello solo works in a around the year 1720. Four of the six suites are lovely mix of four languages, gives no more than written for a standard four stringed instrument, the basic information: Suites à Violoncello Solo but the fifth suite uses special tuning (top A senza Basso (Suites for cello solo without bass). string tuned down to G), and the sixth suite is
44 written for a five string instrument. People still prelude starts as if it were a toccata perpetuum argue as to what instruments exactly he had mobile in order to take us into a breath taking in mind, but we know that he had not one but exploration of the full range of the 5-string cello. two very capable musicians at his disposition After the prelude the tried and tested formula of in Cöthen: C.F. Abel on gamba and cello and dances follow: an Allemande, literally: German C.B. Linigke on cello. His keen interest and dance at a sedate walking pace, followed by the free hand in exploring instrumental form and Courante, French for ‘running dance’. The slow technique was supported by Prince Leopold and stately Sarabande is of Spanish origin and as well as the musicians under his command. a basic suite might have concluded then with It spawned six Brandenburg Concerti, each the Gigue (English of course) if it wasn't for the brimming with instrumental invention, the first novelty dances (known as ‘gallantries’) thrown book of twenty four keyboard Preludes and in before the end, making each suite a sequence Fugues, in all keys major and minor, the six solo of six pieces in the process. The two last suites violin works and the six cello Suites that almost feature Gavottes in this spot, the first two suites 300 hundred years later still don’t disappoint have Menuets here, and the third and fourth either in technical innovation or challenge. suite feature Bourrées. In all six suites these Albert Schweitzer commented that Bach are by far the catchiest and most ready-to- “conceived everything for an ideal instrument, dance movements within an otherwise stylised that had all the keyed instrument’s possibilities context. A wonderful example of exquisite of polyphonic playing, and all the bowed stylisation is the Allemande of the sixth suite, instrument’s capacities for phrasing.” slowed down to spin elaborate ornamentation and graciously offset the driven nature of the For the cello Bach thus wrote Suites, i.e. a preceding prelude. The Sarabande of the fifth succession of dances according to a fixed suite is another famous example because pattern united by one tonality. The six of its sheer absence of chords, resigned to tonalities logically stem from the tuning of a single line across the strings - a ghostlike the instrument: G, D, C with only one work shadow of a dance stripped down to its bare venturing in E-flat major, a key that allows for essence (and used to devastating effect at the little open strings, as opposed to the key of C end of Bergman’s Cries and Whispers). And so which allows for the easiest access to open does each piece in each suite provide perfect strings and chords. This ‘awkward’ E-flat key is balance in the grand 6x6 architecture of the in fourth position, surrounded by the two suites suites. Yes, they might well be heard in a single in C, the third in a C Major at its most rustic and sitting, but it would be as draining to the ear as rambunctious, the fifth in a C Minor at its most it would be exhausting for the player. Though serious and profound. The collection finishes written in a particular order, and with a clear in D Major, always a positive and often festive progression from simple to more complex, tone, as opposed to the D minor of the second the suites allow multiple entry points. Not in suite which offers a ruminative contrast to the vain has Bach’s architecture been compared two suites surrounding it. The collection starts to the Max Escher drawings. As always, Bach then in the playfully good humoured key of G the composer excels at grand conceptual Major, the key of learning , useful finger work frameworks. At the same time, Bach the player, (cf. the Notebooks, the Preludes and Fugues), Bach the improviser relishes the moment in and happy slumber (cf. Goldberg and various itself by leaving all options open. Therefore Cantatas). we should leave the last word to all six cellists Each suite starts with a prelude offering involved in this breakfast series. All six are at extensive improvisatory liberty. In the first and different points in their career and may yet third suite it follows a simple chord progression emulate Casals’ 95 years. But their individual as in a chorale. In the fifth suite the choice of approach, whether played on modern cello or French Overture style announces the greater on historic instruments, is what will keep these ambition of the work, complete with slow six Suites alive for many centuries to come. introduction and fast ‘pretend-fugue’. The sixth Roland Peelman
45 Conservation and Research Garden
Sydney Region Gully
Red Centre Garden
Eucalypt Lawn Native Bee Hotel Children’s Trail
Rainforest Gully Café Lawn
Jindii Eco Spa
0 50m Visitor Centre
46 Australian National Botanic Gardens Monday 6 May 11.30 am IN ASSOCIATION WITH THE AUSTRALIAN NATIONAL BOTANIC GARDENS CONCERT 9 MAGIC GARDEN
SR9 Trio SR9 Body percussion sonic.art saxophone quartet Kurt Weill 1900-1950 arr. Marcin Langer Cannon-song Bree van Reyk percussion The Ballad of Mack the Knife George Gershwin 1898-1937 arr. A. Marshall Sally Walker flute Oh lady be good Liza Jason Noble clarinet George Gershwin arr. C. Enzel/J. Meures Swanee William Barton didgeridoo
Bree van Reyk b. 1978 Véronique Serret violin A Series of Breaths Alex Raupach trumpet J.S. Bach 1685-1750 Flute Partita in A Minor, BWV 1013 Matías Piñeiro horn Felicity Wilcox b. 1964 Cristian Betancourt percussion Yurabirong J.S. Bach Canon alla Decima, Contrapunto all Terza from Art of Fugue, BWV 1080 William Barton with Véronique Serret Improvisation Alex Raupach Improvisation
Richard Wagner 1813-1883 Siegfried’s Call Matías Piñero, Cristian Betancourt Canción en lejania (Song from afar)
This concert is supported by DEBBIE CAMERON
47 AUSTRALIAN NATIONAL BOTANIC GARDENS, CLUNIES ROSS ST, ACTON estled at the foot of Black Mountain lies plants for suburban and public landscaping. Nthe Australian National Botanic Gardens, Today, the Gardens is increasingly involved home of the world’s most diverse collection of in the conservation of native plants through Australian native plants. A visit to the Gardens restoration projects, seed banking and species takes you on a journey across Australia’s recovery projects. iconic landscapes – from the lush greenery of To help grow and share the beauty of the Australia’s eastern coastal rainforest, through Gardens, the Friends of the Australian National the grassy eucalypt woodlands, to the arid Botanic Gardens was founded in 1990 and has desert of Central Australia. grown rapidly to include a broad group of people With its mission to inspire, inform and connect from all walks of life, united by a common desire people to the Australian flora, the Australian to support and be part of the Gardens’ ongoing National Botanic Gardens is the only national mission to ‘inspire, inform and connect people institution with a national collection that is truly to the Australian flora’. ‘alive’. Displaying nearly one third of Australia’s The Australian National Botanic Gardens native plant species – showcased in themed offers visitors the opportunity to engage with landscapes that span 35 hectares of water-wise its living collection in more ways than one – and sustainably managed gardens. through a range of self-guided walks, free twice The Gardens forms part of Parks Australia – daily guided walks, Flora Explorer electric bus a Commonwealth network of reserves that tours, afterDARK evening experiences, talks, includes such places as Kakadu National Park workshops, events and public programs. and Uluru-Kata Tjuta National Park. In 2015, the Australian National Botanic Gardens Prime Minister John Gorton opened the Gardens hosted a musical treasure hunt as part of the as ‘Canberra Botanic Gardens’ on 20th October Canberra International Music Festival when the 1970. Growing recognition of the Gardens’ Gardens hosted ‘Forest Music’, with musicians importance as a national collection with plants performing underneath its canopy and amongst from all over Australia led to the adoption of its the array of plants and gardens. The Festival new name, ‘National Botanic Gardens’ in 1978. returned to the ‘Gardens of Delight’ the following ‘Australian’ was added to the official name in year, and is delighted to have an opportunity 1984 to identify the Gardens as the main national to contribute once again to Garden magic this institution for botany and horticulture. year. Classical music has been widely attested to enhance the growth and metabolism of The Australian National Botanic Gardens is one plants due to the soft melodic pulsations that of the first botanic gardens in the world to adopt are created. Both the plants and their visitors will the study and display of native plant species as a enjoy this special event. principal goal. In the 1970’s the Gardens’ work in this area sparked national interest in Australian
48 ANU School of Music Monday 6 May 3.00 pm IN ASSOCIATION WITH THE AUSTRALIAN NATIONAL UNIVERSITY SCHOOL OF MUSIC EXTRA EVENT PIANO MASTERCLASS
Vyacheslav Gryaznov
works with Mia Huang courtesy of the ANU School of Music
and Leanne Jin courtesy of Theme & Variations Foundation
National Gallery of Australia Monday 6 May James Turrell Skyspace 5.15 pm and 5.30 pm PRESENTED IN ASSOCIATION WITH THE NATIONAL GALLERY OF AUSTRALIA SUNSET SERENADE Tobias Cole sings Sing The Sky (WP) by Jess Green. Commissioned by A Major Lift
49 Canberra’s best arts and culture
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Sign up today at canberratimes.com.au50 for news headlines sent to your inbox Fitters' Workshop Monday 6 May 6.30 pm THE CANBERRA TIMES PRESENTS CONCERT 10 ST JOHN PASSION
Johann Sebastian Bach 1685-1750: Passio secundum Joannem, BWV 245
Andrew Goodwin tenor Evangelist
Richard Butler tenor
Anna Fraser alto
Hannah Fraser alto
David Greco bass Petrus, Pilatus
Jeremy Kleeman bass Jesus
Susannah Lawergren soprano
Amy Moore soprano Ancilla
Dan Walker tenor Servus
Bach Akademie Australia led by Madeleine Easton
directed by Korneel Bernolet
This concert is supported by PERONELLE AND JIM WINDEYER
51 "Fifty and more years ago it was the custom for the organ to remain silent in church on Palm Sunday, and on that day, because it was the beginning of Holy Week, there was no music. But gradually the Passion story, which had formerly been sung in simple plainchant, humbly and reverently, began to be sung with many kinds of instruments in the most elaborate fashion, occasionally mixing in a little setting and singing of a Passion chorale in which the whole congretation joined. And then the mass of instruments fell to again. When this Passion music was performed for the first time – with twelve stringed instruments, many oboes, bassoons and other instruments – many people were shocked and did not know what to make of it. In the pew of a noble family in church, many ministers and noble ladies were present, singing the first Passion chorale out of their books with great devotion. But when this theatrical music began, all these people were thrown into the greatest bewilderment, looked at one another and said, ‘What will come of this?’ An old widow of the nobility said, ‘God save us my children! It’s just as if one were present at an Opera comedy.’ But everyone was genuinely displeased by it and voiced many just complaints against it. There are, it is true, some people who take pleasure in such idle things, especially if they are of sanguine temparament and inclined to sensual pleasure. Such persons defend large- scale church compositions as best they may, and hold others to be crotchety and of melancholy temperament – as if they alone possessed the Wisdom of Solomon and others had no understanding."
Christian Gerber, Historie der Kirchlichen Ceremonien in Sachsen (1732)
At heart Bach was neither pietistic nor orthodox: he was a mystic thinker. Mysticism was the living spring from which sprang his piety. (…) Like all the mystics, Bach, one may say, was obsessed by religious pessimism. This robust and healthy man, who lived surrounded by the affection of a great family, this man who was embodied energy and activity, who even had a pronounced taste for the frankly burlesque, felt at the bottom of his soul an intense desire, a Sehnsucht, for eternal rest. Albert Schweitzer, The Life and Character of Bach
52 National Arboretum Canberra Tuesday 7 May Margaret Whitlam Pavilion 8.30 am
FESTIVAL EXTRA BACH FOR BREAKFAST #2
8.30 am Pastries, tea and coffee
9.00 am Johann Sebastian Bach 1685-1750 Cello Suite no. 2 in C BWV 1008 Prelude – Allemande – Courante – Sarabande – Minuet – Gigue
Lydia Shelley cello (Quatuor Voce)
9.30 am Genevieve Jacobs in conversation with Korneel Bernolet and Dan Tepfer
"Most cellists have grown up with the six Cello Suites as a sort of mystic "cellistic" holy grail. They serve as a constant companion, carrying us across a lifetime of artistic development. For myself, working on the suites has always been the perfect way of taking me back to my cello roots – a vast terrain on which to explore endless possibilities of sound, colour, phrasing and articulation which the instrument has to offer." - Lydia Shelley
53 National Gallery of Australia Tuesday 7 May James Turrell Skyspace 5.15 pm and 5.30 pm PRESENTED IN ASSOCIATION WITH THE NATIONAL GALLERY OF AUSTRALIA SUNSET SERENADE Tobias Cole sings Sing The Sky (WP) by Jess Green. Commissioned by A Major Lift
54 Gorman House Tuesday 7 May 11.00 am IN ASSOCIATION WITH AINSLIE AND GORMAN ARTS CENTRES CONCERT 11 UP CLOSE AT GORMAN
Ernesto Duarte 1922-1988 ‘Como Fué’ arr. Camus/Peralta Pablo Camus guitar and Tomás Peralta double bass
GiuseppeAntonio Brescianello c.1690-1758 Sonata no. 5 Tommie Andersson gallichon (baroque lute)
Christian Petzold 1677-1733 Partita in F James Wannan viola d’amore
Agustín Barrios 1885-1944 Una Limosnita por el Amor de Dios (Alms for the Love of God) Callum Henshaw guitar
Peteris Vasks b. 1946 ‘Blossom’ from String Quartet no. 2 (1984) Penny Quartet
Jess Green b. 1979 Shimmer Shimmer (Japanese Phone Booth) (WP) Jess Green voice and electric guitar
Béla Bartók 1881-1945 Four Duos Sz 98 Veronique Serret, Kristian Winther violin with William Barton didgeridoo
Ella Macens b. 1991 Ripple (WP) Commissioned by Arn Sprogis and Margot Woods sonic.art saxophone quartet
Nick Wales b. 1975 Harbour Dark (WP) Commissioned by A Major Lift Bach Akademie Australia Quartet
This concert is supported by THE MEMBERS OF PRO MUSICA WP – WORLD PREMIERE
55 Ralph Wilson Theatre Pablo Camus guitar and Tomás Peralta double bass play Ernesto Duarte 1922-1988 ‘Como Fué’ arr. Camus/Peralta A bolero by the Cuban composer Duarte that became rightly famous in the version sung by Benny Moré. “How did that happen... / I can't tell you how, I can't explain what happened / But I fell in love with you…."
Room 103 Tommie Andersson gallichon (baroque lute) plays GiuseppeAntonio Brescianello c.1690-1758 Sonata no. 5 Active at the court of Württenberg in Stuttgart for most of his life, the violinist Brescianello composed 18 Pieces for gallichone. The instrument referred to was called Caldechon by Telemann whereas Albrechtsberger called it Mandora, using it in concertos with the Jews Harp. In 1704, Bach's predecessor at the Thomaskirche, Johann Kuhnau, asked the Mayor of Leipzig for money to buy colochonen, which he explained to be a lute but with a penetrating sound…
Hugh Withycombe Luthier Workshop James Wannan viola d’amore plays Christian Petzold 1677-1733 Partita in F Praised as "one of the most pleasant church composers of the time", Petzold worked in mainly in Dresden and contributed a pair of Menuets to Anna Magdalena’s Notebook of 1725. Whilst much of his oeuvre was lost to the ravages of time, two solo partitas for viola d’amore are preserved.
E Block seminar Callum Henshaw guitar plays Agustín Barrios 1885-1944 Una Limosnita por el Amor de Dios (Alms for the Love of God) Over 300 compositions remain of this composer/guitarist from Paraguay, rightly revered as one the greatest ever in Latin-America. Folk music, Bach and religious mysticism form the building blocks of his beautifully crafted guitar pieces. Cal performs on a Greg Smallman & Sons classical guitar and is proudly sponsored by Knobloch Strings.
Canberra Contemporary Art Space Penny Quartet plays Peteris Vasks b. 1946 ‘Blossom’ from String Quartet no. 2 (1984) As a child, Peteris Vasks played violin. He recalls as his happiest the times he was able to play in a string quartet. As he grew up he switched to the double bass and started performing with various Latvian and Lithuanian orchestras, discovering the sound of the string instruments from the inside: “Apart from anything else, I was fascinated by cantilena – the feeling of an immense and never-ending chant. It is in the sound of string instruments that (…) I am able to sing out in the best way.” Love of nature and a deeply felt concern for its destruction lies at the heart of the Latvian composer’s output. His second string quartet “Summer Tunes” starts with the gradual unfurling of pristine music: ‘Coming into Bloom’ or ‘Blossom’.
56 QL2 Theatre Foyer Jess Green voice and electric guitar plays Jess Green b. 1979 Shimmer Shimmer (WP) The electric guitar used in combination with various pedals allow for sophisticated modifications of sound, sustaining, looping and much more. Welcome to Jess Green’s shimmering world of sound.
QL2 Theatre Veronique Serret, Kristian Winther violin with William Barton didgeridoo play Béla Bartók 1881-1945 Four Duos Sz 98 Dance Song Ruthenian Kolomejka Wedding Song Transylvanian Dance Bartok’s extensive research into the folk music of Eastern Europe proved to be a transformative experience both for himself as a composer and for the history of Western art music in the 20th century. Like Bach, Bartok composed an extensive repertoire for children and young people, injecting it with the vigour and vitality he found in indigenous music. The six books of Microcosmos and the For Children collection are for piano but the 44 Duets from 1931-1933 serve the violin. Today four of them connect with an instrument out of a wholly different Indigenous tradition: the didgeridoo.
C Block Theatre sonic.art saxophone quartet plays Ella Macens b. 1991 Ripple (WP) Commissioned by Arn Sprogis and Margot Woods Ella is the youngest composer in this year’s festival and already is building a remarkable portfolio of vocal and orchestral work. Her main influences are Missy Higgins and the traditional Latvian music that was part of her upbringing in Sydney. This new piece for saxophone quartet is being premiered a mere two days prior to Sydney Symphony Orchestra performing The Space between Stars.
Main Hall Bach Akademie Australia Quartet plays Nick Wales b. 1975 Harbour Dark (WP) Commissioned by A Major Lift Six years ago, Wales wrote a string orchestra piece ‘Harbour Light’. It was inspired by the shimmering light on Sydney harbour. The piece was easily adapted for string quartet and even featured in the Shopping Trolley Ballet by Shaun Parker. The new ‘Harbour Dark’ is its long awaited companion piece, premiered here on gut strings.
57 Ainslie Arts Centre Tuesday 7 May 3.00 pm
EXTRA EVENT QUARTET MASTERCLASS
A masterclass by Quatuor Voce with Penny Quartet
Quatuor Voce Sarah Dayan violin Cécile Roubin violin Guillaume Becker viola
Lydia Shelley cello
Penny Quartet Amy Brookman violin Madeleine Jevons violin Anthony Chataway viola Jack Ward cello
58 Fitters' Workshop Tuesday 7 May 6.30 pm THEME AND VARATIONS PIANO SERVICES PRESENTS CONCERT 12 SLAVA'S PIANO
Johann Sebastian Bach 1685-1750 Alexander Borodin 1833-1887, arr. Gryazanov from The Art of Fugue, BWV 1080 Nocturne from String Quartet no. 2 Contrapunctus VIII Contrapunctus IX Pyotr Ilyich Tchaikovsky 1840-1893, arr. Gryazanov Contrapunctus XI ‘Waltz of the Flowers’ from The Nutcracker Op. 71
English Suite No. 2 in A Minor, BWV 807 Sergei Rachmaninov 1873-1943, arr. Gryazanov Prelude Three Romances Allemande ‘The night is sorrowful’ Op. 26 No. 12 Courante ‘How Peaceful’ Op. 21 no. 7 Sarabande ‘Vocalise’ Op. 34 no. 14 Bourrée I Bourrée II Polka italienne Gigue Mikhail Ivanovich Glinka 1804-1857, arr. Gryazanov interval Valse-Fantaisie in B minor
Vyacheslav Gryaznov piano
This concert is supported by MARJORIE LINDENMAYER
59 Bach on piano eyboard players have always played Bach’s led to a gradual but Kmusic on whatever keyboard was available total overhaul in at the time. In Bach’s day the options included the way we play and harpsichord, organ and clavichord – Bach’s listen to Bach: the scores often left the instrument unspecified. ‘early music revival’ In the decades after Bach’s death, Silberman’s that followed World new fortepiano became a regular addition. War II. Bach himself was given a fair taste of the new The Bach tradition instrument in May 1747, during his momentous in Russia could visit to the Emperor Frederick’s Palace in be described as a Potsdam. vigorous offshoot Heinrich Neuhaus As the instrument evolved, so did the style. of middle-European Chopin’s musical education in Poland involved Romantic traditions. It owes much to Heinrich much playing of Bach, more likely than not on an Neuhaus, the pianist and teacher of German- early fortepiano. By the time he arrived in Paris, Polish extraction who taught at the Moscow the new French pianos with their enhanced Conservatory from 1922 to 1964. Neuhaus’s mechanism and a bigger sound had changed shadow hovers in the background of just about the approach again. More than a glimpse of this any great Russian pianist of the last century. can be traced in the many Bach This evening we hear – on piano transcriptions by Schumann, – a Russian artist worthy of this Brahms or Liszt. The stage was great tradition in a combination now set for grand, colourful of Bach’s virtuosic early keyboard adaptations such as those by style and his later writing as part Ferruccio Busoni, still popular of Art of Fugue. and effective one hundred years The set of six suites most later. The recording industry probably written around 1715 in developed well before the early Weimar are English in name only, music revival did, and we only Angela Hewitt possibly commissioned by an have to listen to Bach renditions English nobleman or perhaps by Busoni or Grainger to sense the change a tribute to Charles Dieupart, of legendary in style that had taken place. Inevitably, late- fame in England, whose Six Suittes de clavessin romantic excess was reined in by ‘classical’ (Amsterdam 1701) seemed to have served as attempts to re-evaluate Bach’s original scores a model for Bach; whatever the case may be, and reveal the architecture itself. People’s views Bach continued to write instrumental suites in on how this architecture works in sound may groups of six. As always, the key relationships vary greatly (compare Glenn Gould with Andras are interesting, in this instance derived from Schiff or Angela Hewitt and you will hear very the opening line of the chorale ‘Jesu meine distinct playing styles!), but their exploraton Freude’ (AAGFED). The second Suite in A Minor of Bach stems essentially from the same precedes the normal lay-out of dances with an anti-romantic extensive concerto-like Prelude. The Gigue that movement that completes the suite is equally daring, bordering has informed on a tarantella, following on from a Bourrée and modernist art Musette that add popular spice and bucolic and fashion calm to this otherwise very energetic piece. since the end of the Great War, The three fugues from Art of Fugue that start and eventually this recital are driven by different concerns. Glenn Gould 60 Contrapunctus VIII is a triple fugue, meaning with the mother theme returning underneath that no less than three distinct subjects are as if it were a chorale variation. Contrapunctus introduced and developed one by one before XI is the fugue that balances out VIII. Writing for being combined. The third subject is a variation four voices now, Bach returns to the three off- of the original Art of Fugue mother subject, and beat subjects, but in a different order and with the intricate combination of all three subjects each theme inverted. What’s more, once the forms the apotheosis of this remarkable three subjects are introduced, he brings their piece. What makes it truly remarkable though original figuration back into the fold, spinning a is the fact that all three subjects start on dialogue of six themes that hold one another in an off-beat, creating the impression of supernatural balance. continuously suspended dialogue. In contrast, Roland Peelman Contrapunctus IX is a short, fast and joyful ride Vyacheslav Gryaznov on the Art of transcription ne of my good friends once asked me, enjoy this unpredictability, and I love it when O“There is no way to compete with the a spontaneous idea comes into my mind and beauty of natural voice, or the capabilities and yields an absolutely new and fresh vision of the power of an orchestra’s sonority; what sense music I am working with. does it make for you to create transcriptions for Alexander Borodin wrote his famous Second the piano?” It was a good question. I answered, String Quartet for the 20th anniversary of “Do you like black & white photos?” the declaration of love for his wife Yekaterina, With all the progress in technology, and the whom he loved then as passionately as on that infinite possibilities it affords us now, black and wedding day so many years before, and to whom white art remains one of the most stylish and he dedicated the Quartet. It was in fact my creative ways to express an artist’s viewpoint. wife’s idea to make an arrangement of the slow The lack of vivid colour forces an artist to focus movement of this Quartet, so I thought it would on the form and essence of his work, not just its be good to continue a tradition, and dedicated decorative qualities. Compare this to the genre my transcription to my wife. of piano transcription: here, my goal is always to The idea of writing a transcription of Waltz clarify the sense and soul of the music I choose of Flowers came to me while I was working to arrange for the piano, and to make it sound on a jokey paraphrase on themes from The natural on the piano. Nutcracker for 4-hand piano and orchestra, The art of transcription is a genre that is an commissioned by a TV musical competition. integral part of my creative life. Through this In that piece, I used just some echoes of the practice I can achieve a number of aims and Waltz of the Flowers, and I realized that I wanted ambitions. It enables me to create my own to approach this never-to-be-forgotten music exclusive encores for my recitals. It gives me the by Tchaikovsky from a different, more serious opportunity to interpret my favorite symphonic position, and to make a fully-fledged standalone pieces without being a conductor, and to do it arrangement. with the special psychology and subjectivity that One of my favorites among Rachmaninoff’s are possible only in a solo performance. Finally, vocal pieces is the romance “How Peaceful.” it gives me the chance to look at well-known The desire to arrange it for piano had been pages from the past, to feel the modernity and growing in me since my school years; I just novelty in them, and to give expression to this lacked that final impetus. Then one day it dialogue of epochs and styles. happened. I did it on an airplane flying from The process of creating any given piano Khabarovsk to Sakhalin, the place where I was transcription is completely unique. I very much born and had enjoyed a happy childhood, and
61 which I had not visited for eighteen long years, it is a tradition begun by the composer himself. having left for Moscow many years before. I had Rachmaninoff’s Vocalise is one of the most always thought of this romance as having a quiet popular romances among transcribers. It conclusion, as though melting away in a dream, is worth mentioning, however, that Sergei and had no thought of changing that. However, Vasilievich did not write his version for piano, to my surprise, when I wrote the transcription it but wrote it for an orchestra. It was that special turned out quite differently. Later on, playing the symphonic sound and development I tried to transcription on the piano, I tried to understand achieve in my transcription while trying to keep why it had turned out to be so openly passionate, the romance free of any pianistic tricks. and it occurred to me that this transcription The arrangement of Rachmaninoff’s Italian was not about dissolving in nature or dreams, Polka was written during one night before a but about the strong and burning feelings of a solo recital I was giving in Italy. Actually, the man who was once happy here; one who, with original, four-hand piece by Rachmaninoff is an all his heart and soul, was trying to recover that arrangement itself: the melody is natively Italian; feeling of happiness, being perhaps very far Rachmaninoff heard it while traveling with his family, in 1906, not far from the small Italian town Marina di Piza. A number of performers have created their own versions of this popular piece. My attempt was not just to make a short and funky encore, but to build a quite complex piece with even some dark moments in it. My version of Glinka’s Valse-fantasie is probably one of the most stylistically mixed Sergei Rachmaninoff arrangements I have ever done. Indeed it is very far from the original. When I was writing it, away from his beloved homeland. I can imagine I had no idea what the finished work would be that Rachmaninoff, who was forced to leave like; the music just drove me forward, far from his motherland, might not have left the work's Glinka, as well as away from my initial concept. It conclusion so calm if he had transcribed the was exciting to trust in my own imagination and romance. await the outcome. It seems to me now that this It was not far from Sakhalin (in Japan, to be arrangement bears witness to a major stream in precise) that the transcription of another the development of Russian music, from Glinka romance, “The Night Is Sad”, was written, and I to Tchaikovsky, Scriabin and Rachmaninoff – am pleased to dedicate it to my dear friend, Mrs. maybe even Prokofiev at times. It is amazing to Midori Ota, the owner of a charming voice and see what potential a simple melody has that was beautiful soul. born at the beginning of Russian classical music Rachmaninoff’s songs can be seen as a great history. platform for producing transcriptions; in fact, Vyacheslav Gryaznov
62 Embassy of Finland Wednesday 8 May 8.30 am IN ASSOCIATION WITH THE EMBASSY OF FINLAND FESTIVAL EXTRA BACH FOR BREAKFAST #3
8.30 am Pastries, tea and coffee
9.00 am Johann Sebastian Bach 1685-1750 Cello Suite no. 4 in E-flat BWV 1010 Prelude – Allemande – Courante – Sarabande – Bourrée – Gigue
Blair Harris cello
9.30 am Genevieve Jacobs in conversation with Natalie Christie Peluso and Guillaume Becker
“This Suite has had such a profound impact on me that I have been saving its performance for a special occasion. In fact, I have saved it so long that this will be my first public performance - the only one of the six Suites I have never performed.” - Blair Harris
Photo: Pedro Greig
63 HANDEL DIXIT DOMINUS WESLEY MUSIC CENTRE SUNDAY 1 SEPTEMBER 2019, 3.00PM ARTISTIC DIRECTOR PETER YOUNG WWW.COROCANBERRA.COM Coro Mt Stromlo Visitors' Centre Wednesday 8 May 11.30am
CONCERT 13 BACH ON THE MOUNTAIN
Mt Stromlo in the 1950s Photo: ANU Visitors’ Centre sonic.art saxophone quartet: Prof. Brad Tucker Penny Quartet: The history of Mount Stromlo Albert Schweitzer plays Bach Band of the Royal Military College historic recordings from All Hallows, London – Duntroon Dan Tepfer plays disklavier: Natural Machines (AP) - extracts Dan Tepfer keyboard Yale Telescope Matías Piñeira horn Michael Dooley The Heavens Declare (WP)
Moon Sculpture Cristian Betancourt percussion Johann Sebastian Bach 1685-1750 arr. Moehlmann Ricercare à 6 from Musikalisches Opfer, BWV 1079 Cécile Roubin violin
Johann Sebastian Bach, arr. Hindsley Sarah Dayan violin Toccata and Fugue in D Minor, BWV 565 Director's House Susanne Stelzenbach b. 1947 Atempause (2010/11) Melbourne Telescope Los Pitutos play Latin-American songs Common Room Jörg Widmann b. 1973 String Quartet no. 4
– This concert is supported by CLIVE and LYNLEA RODGER WP WORLD PREMIERE AP – AUSTRALIAN PREMIERE
65 Music on Mount Stromlo ituated at 780 metres above sea level, at Richard Woolley’s Slatitude 35° 19’ 5” South and longitude 149 ° directorship 42” East, Mount Stromlo Observatory has been from 1939 to fully operational since 1911. It took many years 1955 oversaw of lobbying within Australia and considerable the war effort, international pressure to establish a solar the practical observatory in this remote corner of the applications of southern hemisphere. The site was chosen for the research, and its comfortable distance from city lights, ready ultimately a major supply of sunlight and absence of pollution. shift from solar The newly chosen site for Australia’s capital research to stellar made the choice a felicitous one. And so it is exploration. Albert Schweitzer that these lonely heights, offering precious little By the end of comforts initially, became the place for ground Woolley’s reign, the Observatory’s absorption breaking scientific research and blossoming into the Australian National University was international cooperation. The centre actively signed off by Robert Menzies, and the centre contributed to the war effort through the has since been led by great luminaries in the production of optical lenses. As the community world of astro-physics. on the mountain grew, so did its unusual web of As a natural site, the Observatory also dealt social activities. with calamity. During the 1952 bushfires, The centre was officially established as the most facilities were saved except for the Commonwealth Solar Observatory in 1923 with workshop on the western wing, some storage W.G. Duffield (1879-1929) as its first director. and tools. Extraordinary efforts from all the There is a beautiful photograph of Duffield residents prevented the worst. Woolley took carting a double bass on his shoulder as he and note and recounted the event: “When the his wife make their fire had passed, up came a barrel of beer, and way down from Mt sandwiches, with the compliments of the Hotel Stromlo to join their Canberra. Finally there came the Fire Brigade friends for a weekly who drank the beer. Then came the Minister for evening of chamber the Interior who started giving the fire fighters music. Later in the instructions.” site’s history, Walter There was no cause for merriment however, Stibbs (1919-2010) when an unprecedented fire swept towards was in the habit of Canberra on 18 January 2003, leaving all of accompanying his the domes and some of the oldest buildings Walter Stibbs celestial viewings destroyed in its wake, telescopes irreparably during the 1940s with the organ music of J.S. damaged. Because all new telescopes had been Bach, played via a wind-up gramophone using built at the Siding Springs Observatory since 78 rpm shellac records of Albert Schweitzer, a 1957, work and ongoing research has barely renowned theologian and Bach scholar, who left suffered. The buildings on Mount Stromlo that a promising career in music to pursue medicine form the background to the event today, either and missionary work in Africa, receiving the restored or as a poignant relic of man’s futility Nobel Peace prize in 1952. in the face of natural disaster, bear witness to During the war, the researchers’ unit on Mount the eternal conflict of man and nature. Stromlo became a round-the-clock workshop Stibbs’s Schweitzer-Bach collection of 78s was employing more personnel than ever before. miraculously saved and is being played in the 66 Visitor Centre. Dan Tepfer’s latest disklavier but an example of new interdisciplinary work exploit Natural Machines owes as much to emerging from Berlin where both composer Bach as it owes to advanced scientific methods and performers are based. With the four players in computer science and music. placed in different rooms of the Director’s Residence, the work breathes the winds that Michael Dooley’s new work in the Columbia/ surround Mount Stromlo, capable of welcome Yale Telescope is a direct homage to Bach and cooling as well as awesome destruction. the baroque tradition. Like an exploration of the 360 degree universe of tonality, all three The thread of chamber music in Germany can of the movements modulate to all 12 keys. be measured in Jörg Widmann’s Fourth String Dooley’s father James Dooley was one of the Quartet from 2005. Widmann has written physicists recruited to Mount Stromlo in the one of the most significant bodies of string 40s. Even after enlisting in the army, he was quartets around the world by now, blending sent back here to work on radar equipment. contemporary sounds with historical gestures The composer fondly remembers his visits to and styles. The fourth quartet is constructed Stromlo as a child and how James’ best friend as a fluid passacaglia. The walking bass line Sid (or Ben) Gascoigne made him look at the and the ascending and descending patterns moon and various stars and planets through grow more mysterious as they drift away from the big telescope. Jim Dooley was a colleague the passacaglia’s theme. Los Pitutos provide of Prof Stibbs. Along with Ben Gascoigne, an appropriately apposite musical statement Richard Woolley and Ernst Frolich, they were to Widmann from the ruin of the Melbourne dubbed ‘The Bachelors on the Mountain’, telescope. noted athletes and keen bicycle riders. Stibbs, The final word however will be with Canberra’s Woolley and Dooley organised the great Bicycle Concert Band of the Military College, Race of 1941, from the foot of Mt Stromlo to the Duntroon, sending Bach up into the sky from top and back. the central Moon Sculpture. Susanne Stelzenbach’s Atempause (Breathing Roland Peelman Pause) is no response to the Bicycle race with many thanks to Tom Frame and Tony Magee.
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National Gallery of Australia Wednesday 8 May James Turrell Skyspace 5.15 pm and 5.30 pm PRESENTED IN ASSOCIATION WITH THE NATIONAL GALLERY OF AUSTRALIA SUNSET SERENADE Tobias Cole sings Sing The Sky (WP) by Jess Green. Commissioned by A Major Lift
68 Fitters' Workshop Wednesday 8 May 6.30 pm
CONCERT 14 BREXIT BLUES
Edward Elgar 1857-1934 Brodsky Quartet: Chanson de matin Op. 15 no. 2 Ian Belton violin La capricieuse Op. 17 Gina McCormack violin Chanson de Nuit Op. 15 no. 1 Paul Cassidy viola String Quartet in E Minor, Op. 83 Jacqueline Thomas cello Allegro moderato Piacevole (poco andante) Allegro molto
INTERVAL
César Franck 1822-1890 Quatuor Voce Piano Quintet in F Minor Sarah Dayan violin Molto moderato quasi lento – Allegro Lento con molto sentimento Cécile Roubin violin
Allegro non troppo ma con fuoco Guillaume Becker viola
Lydia Shelley cello with Vyacheslav Gryaznov piano
This concert is supported by MARJORIE LINDENMAYER
69 The British Quartet
he group of players that gave the first formal compositional instruction allowed him Tpublic performance of Elgar’s opus 83 to absorb the lessons of Schumann, Wagner on 21 May 1919 in London’s Wigmore Hall was and Berlioz as much as if not more than that of billed as ‘The British Quartet’. In fact, Elgar’s Hubert Parry. The result was a personal voice, score fulfilled a long standing promise to the an English voice indeed, but how to describe Brodsky Quartet and was dedicated to them. it? By the time the work was finished however, the This string quartet, perhaps somewhat Brodskys were deemed too old, and W.H. ‘Billy’ unloved because of its lack of memorable Reed, Elgar’s trusted collaborator on all things tunes, is driven by high degree of palpable strings, pulled in his friends Albert Sammons and determined energy in wilfully wry on violin, Raymond Jeremy on viola and Felix rhythmic gestures, argumentative in much Salmond on cello. Together of its first movement and with Reed himself: the British impatient in its last (Lady Elgar Quartet! likened it to the "galloping of A string quartet had long stallions"). Even the second eluded the composer after movement, described as an early work was destroyed "captured sunshine" by his and all other attempts came fiercely supportive wife, is to nothing. When the Great unconventional in its lay- War came to an end, and out and its texture. The keen as he recovered from a year of illness and listener should look out for general weariness, three significant chamber a quotation of Chanson de Matin here. If works emerged in close succession: the this is British though, then it stands for wiry Violin Sonata, the Piano Quintet and the undogmatic stubbornness. String Quartet, all completed between March Perhaps we need to acknowledge that 1918 and January 1919. By Christmas 1918 the there were as many sides to Elgar’s art and quartet was done, and a private performance character as there are aspects to the English was organised at his home in the presence of soul. Sibelius himself called Elgar, a Roman none other than George Bernard Shaw. Like Catholic of modest upbringing who married a the earlier String Serenade, and the Cello high society woman eight years his elder, "the Concerto that would immediately follow personification of the true English character these chamber works, the quartet is written in music ... a noble personality and a born in E Minor. By this stage in his career, Elgar aristocrat". Many commentators have since was a lauded composer, the author of the dwelled on the undeniable Teutonic traits in Sir celebrated Enigma Variations and the great Edward’s output. The three short salon pieces musical standard-bearer, ‘Land of Hope of from the 1890s that start the concert give us Glory’, everything that Britain stood for in the a glimpse of that other, more conventionally Edwardian era. Ironically, his lack of much English Elgar. Roland Peelman
70 A French Quintet
f Elgar prompts the question of Englishness Like Bruckner, Franck’s compositional talent Iin music, the case of a Belgian-born (before bloomed late. In his case the recognition at it was Belgium) francophone composer with the Conservatoire and the regular encounters the German surname Franck (César-Auguste- with the best and brightest unleashed a surge Jean-Guillaume-Hubert to be complete), of energy that allowed his craftmanship to who famously rose to the peak of the French climb the mountain of large musical structure: establishment in the second half of the 19th extended sonata form unified by cyclic century, might equally raise questions about principles. the Gallic soul and its relationship to Germany. In effect, the married Franck, church In fact, it did. organist at Sainte Clotilde and paragon of In the aftermath of the Franco-Prussian war respectability, had fallen for a young student, and the trauma of the Paris Commune, the Augusta Holmès (don’t be fooled by the accent French musical establishment – she was Irish). As if Paris had expressed its obsession about nothing else to talk about Gallic essence (Ars Gallica, (the 1875 scandal of Bizet’s the motto of the newly coined Carmen premiere, the rise of Société Nationale de Musique) Zola’s warts-and-all prose, by looking across the Rhine not to mention the libertine for new ideas and substance. escapades of Rimbaud and Franck’s appointment as Verlaine), the affair was a organ professor at the Paris poorly kept secret. By the Conservatoire in 1872 was emblematic. He time the premiere of the new Piano Quintet had garnered a formidable reputation as an took place in January 1880 – in the hands of organist and improviser by that stage and his the very respectable Quatuor Marsick and the organ classes had become ‘the place to be even more respectable pianist Camille Saint- at’ for aspiring young composers. Germanic Saens – Paris had something else to talk about. idealistic traditions alive in the hands of The piece shocked its audience with what Brahms and Bruckner (another organist) were perceived as exuberantly passionate reached back to Beethoven and – the ultimate gestures in music, as overtly sensuous as organist – Bach, a fact that appealed mightily wildly exaggerated. In short: unbecoming to those who saw order and classic form as for such a distinguished maestro. Critics the bedrock of French culture. On the other described it as having "disturbing vitality" hand, the harmonic and dramatic innovations and an "almost theatrical grimness". The real of a certain Richard Wagner held no small heckling squad though was led by the jilted sway over a number of impressionable young Mme Franck, who found ready support in the composers in France. In the name of ‘ars likes of Camille Saint-Saens, who always ran gallica’ and ‘progress’, Wagner’s extended his own agenda and, according to our sources, ever-modulating harmonic progressions had been turned down by Augusta… found themselves planted onto 18th-century In writing this F Minor Quintet (the same key formal structures. Reading the titles of as Brahms’ Piano Quintet) Franck did capture Franck’s keyboard works is most revealing: more than the essence of a piano quintet, less Prélude, Choral et Fugue; Prélude, Fugue et interpersonal than the piano trio, less intimate Variation etc .: classic tri-partite forms, as than the piano quartet and notoriously hard to sound structurally as theologically. 71 deal with. Combining piano and string quartet, work is arresting beyond belief and once the two known and self-contained entities, allegro starts the musical material allows each requires a mastermind who can avoid a bloody of the five instruments to come to the fore, battle of the giants by devising material in avoiding any sense of resolution. The second which the quartet can be quartet and the movement is a drawn out ethereal suspension, solo piano can be piano. And this he does with shedding new light on the second theme enormous skill, panache, and economy – not of the first movement. We might expect a a single bar of musical material is wasted, scherzo to follow at this point, and indeed, the each motive transformed, transposed and last movement starts as a demonic scherzo developed by both piano and strings. From which eventually reconfigures the musical the dramatically contrasting introduction to cells as well as the the piano-string quartet an abrupt, almost violent unison 30 minutes relationship with increasingly feverish unison later, the piece never looses its grip on the writing. The work is a beautiful example of musical narrative, maintained in a tripartite how classic formal constraints can become bridge form that chooses unity of style over the vehicle for musical passion that reaches variety of expression. Yet the genius in the beyond its form. Few people were prepared composition lies exactly in the palpable for such an outpouring in 1880. Franck’s wife, passion that drives the contrasts and gives the the aptly named Félicité, never forgave him five players melodies and gestures of dramatic for the piece and blamed his students for immediacy. Without this the work might easily such aberrations. Long live these French have become cerebral or predictable, too aberrations! obviously mapped out. The opening of the Roland Peelman
72 Beaver Galleries, Deakin Thursday 9 May 8.30 am IN ASSOCIATION WITH BEAVER GALLERIES FESTIVAL EXTRA BACH FOR BREAKFAST #4
8.30 am Pastries, tea and coffee
9.00 am Johann Sebastian Bach 1685-1750 Cello Suite no. 3 in C BWV 1009 Prelude – Allemande – Courante – Sarabande – Bourrée – Gigue
Miles Mullin-Chivers cello
9.30 am Genevieve Jacobs in conversation with Bree van Reyk and Matias Piñeiro
“When I was ten, my teacher Takao Mizushima introduced me to the Bourree from Bach’s third Suite. I had never encountered anything like it. Whenever I play this third suite now it feels as if I’m having a conversation with an old friend.” - Miles Mullin-Chivers
73 Windsong Series 1 Sunday 23 June 2019 12.30pm VOX: Sydney’s finest young adult choir present an afternoon of song inspired by the magic, love and FOUR WINDS fragility of childhood. Come and be inspired by sublime singing by this celebrated choir.
Windsong Series 2 Saturday 17 August 2019 1.00pm Four Winds and the Sydney International Piano Competition present US pianist, Kenny Broberg in recital – a stunning program of Bach, Beethoven, Chopin, Debussy and Ravel. DISCOVER Windsong Series 3 MUSIC IN NATURE Sunday 22 September 2019 1.00pm 2019 Windsong Series Concerts International guest violinist at Four Winds | Bermagui Anthony Marwood in collaboration Visit www.fourwinds.com.au with Four Winds Artistic Director to book your tickets and James Crabb. ‘Music through the to experience fine music centuries’ by Piazzolla, Bach, on the Far South Coast of NSW. Beamish, Gardel and Stravinsky.
74 Bungendore - Braidwood - Thursday 9 May Jembaicumbene 8.45 am
IN ASSOCIATION WITH BUNGENDORE WOOD WORKS GALLERY; ST ANDREW’S ANGLICAN CHURCH, BRAIDWOOD; MILL POND FARM, JEMBAICUMBENE ANNUAL FESTIVAL TRIP TASTE OF THE COUNTRY
Bungendore Wood Works Gallery , NSW Alvaro Zambrano guitar and accordion
La gloria eres tú ( Bolero) Pablo Camus guitar Como fué ( Bolero) Jonathan Lee organ La joya del Pacífico (Peruvian Waltz) Ódiame (Peruvian Waltz) Richard Fomison trumpet Fenesta che lucive (Italian Song) Madeleine Easton violin Parlami d’amore Mariu (Italian Song ) Anton Baba cello St Andrew’s Anglican Church, Braidwood, NSW Korneel Bernolet historic keyboards Johann Sebastian Bach 1685-1750 Prelude in G major, BWV 541 for organ
François Dauverné 1799-1874 Fanfare for Natural Trumpet (1857)
Marc Antoine Charpentier 1643-1704 Te Deum Prélude
Giovanni Buanaventura Viviani 1638-1693 Sonata Seconda Per Trombetta Sola (1678)
Johann Baptist Neruda c1708-1780 Concerto for Trumpet In E-flat –Allegro
Georg Philipp Telemann 1681-1767 Air de Trompette
Jeremiah Clarke 1674-1707 Trumpet Voluntary from Suite in D
Mill Pond Farm, Jembaicumbene, NSW
Joseph Haydn 1732-1809 Piano Trio no. 39 in G major 'Gypsy' (Op.73 / Hob.XV:25) Andante – Poco adagio, cantabile – Finale Presto. Rondo, in the Gypsies stile
Carl Friedrich Abel 1723-1787 Sonata VI in F major (Op.5 no. 6 / Wk 122) Allegro – Un poco vivace
75 National Gallery of Australia Thursday 9 May James O. Fairfax Theatre 12.45 pm
IN ASSOCIATION WITH THE NATIONAL GALLERY OF AUSTRALIA FREE EVENT MUSIC FOR LUNCH
György Kurtág b. 1926 Penny Quartet: Hommage à Jacob Obrecht (2004/5) Amy Brookman violin Madeleine Jevons violin Sergei Prokofiev 1891 – 1953 String Quartet no. 1 Op. 50 in B minor (1931) Anthony Chataway viola Allegro Jack Ward cello Andante Molto Andante
National Gallery of Australia Thursday 9 May James Turrell Skyspace 5.15 pm and 5.30 pm PRESENTED IN ASSOCIATION WITH THE NATIONAL GALLERY OF AUSTRALIA SUNSET SERENADE Tobias Cole sings Sing The Sky (WP) by Jess Green. Commissioned by A Major Lift
76 Fitters' Workshop Thursday 9 May 7.30 pm
IN ASSOCIATION WITH CHAMBER MUSIC NEW ZEALAND CONCERT 15 BRODSKY QUARTET
Photo: Duncan Matthews
Johann Sebastian Bach 1685-1750 Brodsky Quartet From The Art of Fugue, BWV 1080 Gina McCormack violin Contrapunctus I Contrapunctus VI Ian Belton violin Paul Cassidy viola Wolfgang Amadeus Mozart 1756-1791 Jacqueline Thomas cello Adagio and Fugue in C minor KV 546
Felix Mendelssohn 1809-1847 Fugue in E-flat Major fromFour Pieces, Op. 81 no. 4
Ludwig van Beethoven 1770-1827 Fugue in B-flat Major Grosse( Fuge) Op. 133
INTERVAL
Béla Bartók 1881-1945 String Quartet no. 1 in A minor Lento Poco a poco accelerando all'allegretto Introduzione Allegro vivace
This concert is supported by MARGARET FREY
77 We call that a Fuge ... "We call that a Fuge, when one part beginneth systematic approach to writing counterpoint of and the other singeth the same, for some the kind perfected by Palestrina. Every serious number of notes (which the first did sing)." musician in the 18th century studied counterpoint from Gradus. (Bach’s copy survives. On Mozart o wrote Thomas Morley in his Plaine and Easy and Beethoven, see below.) Mastering Fux’s Introduction to Musick (1597). If only it were S principles was seen as fundamental to a well- that plain and easy. Morley is right in describing educated composer’s craft. the essence of fugal writing as having one line chase another (the Italian fuga means ‘flight’) The other authority was none other than Johann using the same thematic idea (normally referred Sebastian Bach. Not only was he the greatest to as a ‘subject’). But this is open to layers of master of contrapuntal writing but his works increasing complexity depending on how many were viewed as having an important pedagogical lines (or voices) are involved (a fugue in three, function. Bach seems himself to have seen the four, five parts) and how many subjects are used fugue as having a didactic importance. When (normally one, but there are double fugues, triple the Jews lay down the law to Pilate in in the St fugues and beyond). Even in a simple fugue, we John Passion (‘Wir haben ein Gesetz’) it is in a are not really dealing with just one theme (the fugue, a dogmatic expression of jurisprudential subject) since when the second voice answers authority. the first, the first voice continues with what The composer and theorist Friedrich Wilhelm is known as a ‘counter-subject’. Fugues are a Marpurg (1718-1795) wrote a preface to Bach’s particular manifestation of counterpoint (point- Art of Fugue when it was published in 1752. In contra-point, or, really line-contra-line). Its fully- it, he emphasizes the way in which Bach’s fugal developed 18th-century version organizes these writing transcends the didactic: ideas within a clearly-defined structure with a beginning (exposition), middle (development) ‘... no one has surpassed him . . . in the deep and end (final entries). This is unashamedly and thoughtful execution of unusual, ingenious learned music, with two presiding authorities. ideas, far removed from the ordinary run, and yet spontaneous and natural; I say natural meaning The first is the Austrian composer Johann Joseph those ideas which must, by their profundity, Fux (c.1660-1741) who in 1725 published Gradus their connection, and their organization, meet ad Parnassum (‘Ascent to [Mount] Parnassus’ – with the acclaim of any taste, no matter of what the home of the muses). This treatise provides a country.’
J. S. Bach 1685-1750 Contrapunctus I & VI from Art of Fugue, BWV 1080 ow many of us grew up practising Preludes Goldberg Variations (see Concert 20) and The Hand Fugues from The Well-Tempered Musical Offering, that remarkable collection Clavier? We were in good company. Beethoven of pieces based on a theme given to him by was given these by his first real teacher, Christian Frederick the Great. Gottlob Neefe. (All Beethoven’s other teachers Bach’s last such project was The Art of Fugue. – including Haydn – had him working exercises Its opening Fugue is a straightforward four- from Fux.) Felix Mendelssohn and his sister voice composition. Fugue 6 is labelled ‘in the Fanny also both studied these works as children. French style’, a reference to the dotted groups (Fanny pleased her father by memorizing characteristic of a French overture. It uses the twenty-four of the Preludes.) Bach wrote several principal theme the right way up and upside works involving a systematic exploration of down and has both versions played straight and the possibilities of counterpoint, such as The in diminution (that is, at twice the speed). Well-Tempered Clavier (see Concert 18), the
78 W. A. Mozart 1756-1791 Adagio and Fugue in C Minor, K. 546 uring his Italian tour of 1770, Mozart (now Handel and Bach. I’m currently making myself Dfourteen years old) sought composition a collection of Bach fugues.’ It was Van Swieten lessons from Giambattista Martini (Padre who was instrumental in getting Haydn to set The Martini) in Bologna. His exercises, with Martini’s Creation on the model of a Handelian oratorio. corrections, survive. When, in turn, Mozart took It was for Van Swieten that Mozart arranged on the Englishman, Thomas Atwood, as a pupil Messiah and transcribed five four-part fugues he set him to work on Fux. Atwood’s efforts from Book II of The Well-Tempered Clavier for also survive with Mozart’s corrections including string quartet. a final comment, ‘You are an ass.’ (The two The C minor Fugue, K. 546 first appears as a work became good friends.) for two pianos (K. 426) composed in 1783. The In Vienna, Mozart was part of a circle of version for strings comes six years’ later with musicians drawn into the enthusiasms of the a magnificent introductory adagio. This, with Imperial Court Librarian. In 1782 he wrote to his its regal dotted-rhythms, gives the Adagio and father, ‘Every Sunday at twelve I go to Baron van Fugue the character of a grand French overture Swieten’s – and nothing is played there except of the kind cultivated by Bach and Handel.
Felix Mendelssohn 1809-1847 Fugue in E-flat Majorfrom Four Pieces, Op. 81 no. 4 hen Mendelssohn was fourteen, his The E-flat Major Fugue comes from the last year Wgrandmother gave him Bach’s autograph of Mendelssohn’s life. The subject pays homage manuscript of the St Matthew Passion as a to the ‘Jupiter’ Symphony. The first four notes Christmas present (imagine that!). He went on have exactly the same melodic and rhythmic to direct a performance of the work at the Berlin profile as the fugue subject in Mozart’s finale. Singakademie six years later, on 11 March 1829, a Across its four-bar span, Mendelssohn’s subject date that is now seen as marking the beginning also seems reminiscent of the fugue in the first of Bach’s rehabilitation as one of the giants of movement of Beethoven’s Quartet in C# Minor, Western music. Mendelssohn’s own output is Op. 131. This is a beautiful piece that begins in testimony to his reverence for Bach. His piano quiet contemplation and culminates in joyous, music, for example includes numerous Preludes optimistic repose. and Fugues (balancing the exquisitely romantic Songs without Words).
Ludwig van Beethoven 1770-1827 Fugue in B-flat Major Grosse( Fuge), Op. 133 he premiere of Beethoven’s String Quartet was persuaded to write an alternative finale for Tin B-flat Op. 130 – with theGrosse Fuge as the Quartet. its finale – took place in March 1826. Beethoven Beethoven’s late quartets are famously arcane. was too nervous to attend. He waited at a His journey into a profound inner world reached nearby hostelry for his friend Ignaz Holz to bring its apogee with the Grosse Fuge. As a stand- him back news of how things had gone. Holz alone work, It is magnificent. The first thirty bars reported that the audience had demanded are labelled “Overtura” by Beethoven, before a encores of the second and fourth movements. second heading “Fuga” appears. This “overture” Beethoven was not pleased. “What about the sets out the material for the entire work: first Fugue?” he asked. He was absolutely incensed to a fortissimo statement of the fugue subject learn that it had not received a positive hearing. beginning, followed by a few bars in a dance- “Cattle! Asses!” he is said to have roared. No like 6/8 metre. Then a conciliatory fragment further performances of the Fugue were given marked “meno mosso e moderato” (slower, for another twenty-eight years and Beethoven 79 moderate tempo) before an extraordinarily So often in counterpoint, we enjoy the piquancy hesitant re‑statement of the fugue subject, now of a passing dissonance that results from beginning on B-flat and markedsempre pp. perfectly “correct” writing. What happens in the Grosse Fuge, and particularly in the double 650 bars (and 15 minutes) later, Beethoven fugue section, goes way beyond that. It is like again reviews his material, but all of this stalls a determined working out of contrapuntal on an almost spooky unresolved dominant possibilities with little regard for what military which is followed by 17 bars of groping towards analysts would call collateral damage. a cadence onto the tonic. From there to the end of the piece we hear repeated affirmation Stravinsky famously described the Grosse Fuge through cadential figures of B-flat major as the as “this absolutely contemporary piece of music home base. that will be contemporary forever”.
Béla Bartók 1881-1945: String Quartet No. 1, Op. 7 Lento Poco a poco accelerando al Allegretto Introduzione: Allegro Tucked away in Book 3 of Béla Bartók’s compatriot Zoltan Kodaly described it) is Mikrocosmos is a little piece called ‘Hommage à carefully staged through the quartet, which is J. S. B.’. In 1908, while composing String Quartet played without a break between movements. No. 1, Bartok was also editing an educational The middle movement is marked ‘gradually edition of Bach’s Well-tempered Clavier. reaching a moderately fast tempo’. The opening Throughout the Quartet, Bartók’s fluency as of the final movement is a parody of a popular a contrapuntal writer is everywhere evident, Hungarian song, ‘Just a Fair Girl’ by Elemér from the anguished opening built on a theme Szentirmai. It brings us back to the Bartók who associated with the composer’s unrequited love did so much to raise awareness in the rest of for the violinist Steffi Geyer, to the capricious the world of the rhythmic appeal and melodic fugato writing in the final movement. inventiveness of Hungarian folksong. This growth from sombre reflection to Peter Walls exuberance (a ‘return to life’ as Bartók’s
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80 Canberra Girls' Grammar School Friday 10 May Chapel of the Annunciation 8.30 am
IN ASSOCIATION WITH CANBERRA GIRLS' GRAMMAR SCHOOL FESTIVAL EXTRA BACH FOR BREAKFAST #5
8.30 am Pastries, tea and coffee
9.00 am Johann Sebastian Bach 1685-1750 Cello Suite no. 5 in C minor BWV 1011 Prelude – Allemande – Courante – Sarabande – Gavotte – Gigue
David Pereira cello
9.30 am Genevieve Jacobs in conversation with David Pereira and Paul Cassidy
JS Bach Suite in C mol for detuned solo cello Announces solemnity and grandeur, intelligence and reason, Ebony-inked charcoal the brushed medium. Follows the collection of ersatz dances (as if grief would want to!), Crucifixion their centrepiece. The joyless gigue, energetic and resolved, Muscles away despair, side-steps consolation, frowns at hope… After this, how glad we are of sweetness and light. Another coffee please! - David Pereira
81 Would you like to support the commissioning of Australian music? Join our new donor circle:
A Major Lift is our new donor circle which will raise money each year to commission Australian composers to write music that will premiere at the Canberra International Music Festival.
Our inaugural Major Lifters contributed the funds to support a number of commissioned works in our 2019 program.
Becoming a Major Lifter gives you the opportunity to support the creation of new music and then experience a world premiere performance. You will also be invited to meet with the composer(s) and celebrate your contribution to bringing their music to life with your fellow Major Lifters.
We are committed to commissioning diverse voices including indigenous and female composers, both of whom are under-represented in contemporary art music. We also support and nurture the talents of the next generation of Australian artists, providing exciting opportunities for young composers to create new works.
The Festival has a long and proud history in commissioning new music so you can feel confident that your donation will be invested wisely.
Joining A Major Lift requires a minimum annual donation of $500.
If you would like to find out more about how you can become a Major Lifter,Catherine Hawkins, board member and founder of A Major Lift will be delighted to speak to you. Just contact the office on 6230 5880 and Catherine will call you back. Or you can visit our website, www.cimf.org.au, for more information – see Commissions.
82 Canberra Girls' Grammar School Friday 10 May Chapel of the Annunciation 11.00 am
IN ASSOCIATION WITH CANBERRA GIRLS' GRAMMAR SCHOOL CONCERT 16 BACH THE TEACHER
11.00 am - The Art of Fugue Everything you always wanted to know about the fugue but were afraid to ask! This public talk by Festival director Roland Peelman will include the public analysis of Contrapunctus VII and Contrapunctus X with sonic.art sax quartet and the Bach Akademie Australia Quartet on period instruments.
12.00 - Bach for Children From Clavierbüchlein für Anna Magdalena Menuet in G Major Tobias Cole countertenor, Menuet in G Minor Korneel Bernolet harpsichord Polonaise in G Minor Chorale Jonathan Lee organ Gib dich zufrieden und sei Stille Bella Voce Chapel Choir (Be content in yourself and be calm) Students from Menuet in A, BWV Anhang 120 Canberra Girls' Grammar School March in D (Carl Philipp Emmanuel Bach 1714-1788) Erbauliche Gedanken eines Tobackrauchers, BWV 515 (Edifying thoughts of a tobacco-smoker) Musette Aria: Bist du bei mir (When you are near me) (attr. G.H. Stölzel 1718) Prelude in C Aria: Schaffs mit mir, Gott (Fashion me, O God) Chorale: Dir, dir, Jehova, will ich singen (To You, Jehova, I want to sing) Wie wohl ist mir (How dear it is to me) Chorale: O Ewigkeit, du Donnerwort (Oh Eternity, you Word of Thunder)
1.00 - Bach's Keyboard – see next page
83 Klavierbüchlein für Anna Magdalena Bach, 1722 Notenbüchlein für Anna Magdalena Bach, 1725
1.00 - Bach's Keyboard
ORGAN Jonathan Lee Johann Sebastian Bach Dies sind die Heilgen zehen Gebot from Clavier-Übung III, BWV 678 (1739) Canone all’ottava, from Die Kunst der Fuge, BWV 1080 Gloria – Allein Gott in der Höh sei Ehr from Clavier-Übung III, BWV 260 (1739)
HARPSICHORD – Korneel Bernolet Johann Sebastian Bach Inventio in D Minor, BWV 775 Canon per Augmentationem in Contrario Motu, from Die Kunst der Fuge, BWV 1080
PIANO – Vyacheslav Gryaznov J.S. Bach/V. Gryaznov Organ Fantasie in G Major, BWV 572
DISKLAVIER – Eve Egoyan J.S. Bach/E. Egoyan Fantasy on the Prelude in C Major, BWV 846
84 In pursuit of fugue nce upon a time there was harmony. The origins of fugue lie in the old contrapuntal OThen there was counterpoint. And then techniques of canon and imitation that typify there was fugue. the 16th century church motet. Instrumental equivalents were a little slow coming, but the A fairy tale indeed. Once upon a time, in format suited homogenous ensembles such as the old system where I grew up, those three the viol consort or the organ (an ensemble of pillars signified the crowning achievement of sorts with two hands, two feet and numerous any aspiring musician. The reward for all that registers). Without text, sacred connotations harmonic, contrapuntal and fugal toil (in that faded and the medium became more abstract, order precisely) was ‘composition’ – to be free even introverted and more instrumentally at last. In case compositional glory did not idiomatic. eventuate, a nice posting as head of a suburban music school might ensue. The common name used for such music What is it about fugue that intrigues, irritates or was ricercar, from the Italian ‘to find out, to th fascinates us? The composer Saint-Saëns, in research’. By the end of the 17 century, the one of his deadpan moments, once referred to word ‘fuga’ (from the Latin fugere, to flee or it as "a piece in which the parts enter - and the to chase) was commonly used and the genre listeners exit - one by one." What is it then that was ready to be embraced by composers either sustains or loses our interest? What is it with religious inclinations and a penchant about the repetition of a particular subject (the for abstraction. Enter J.S. Bach, a composer theme) through different keys and registers? who recognised the sacred roots of fugue A minor key subject may well morph into and sensed its potential as ‘architecture of major changing its demeanour, but the whole the mind’, abstract form drawing ancient point about fugue is that the subject remains counterpoint to its ultimate conclusion. the same. Unless or until a second subject is We know from eyewitness accounts how introduced, everything revolves around this impressive Bach was at improvising complex one melodic idea. fugues on the spot. He instinctively realised the harmonic, melodic and rhythmic possibilities The subject of a fugue can be a miracle of to go with any given theme. melodic invention but unless it allows for effective counterpoint in the other voices it One such occasion carries historic significance. won’t do. On the other hand, a subject may King Frederick of Prussia had acquired new appear plain, even lacking in grace. As long instruments, called piano-forte, and wanted as it can spur a myriad of new possibilities someone special to test them. In return, J.S. (interesting countersubjects, lively passage Bach, of a certain age and reputation, was to be work as well as all the typical tricks of inversion, tested with a special theme devised by the king retrograde, diminution, augmentation – call it (Thema Regis) - or, perhaps, as has long been mirror, crab, shrinking and stretching if you like) suggested, Bach’s son Carl Philipp Emanuel, you have the beginning of a work that grows in employed by the king. The theme itself, over 21 stature with every new entry. Fugue isn’t exactly notes, is as sophisticated as it could be, with a a form as such. Rather, it could be described as strong majestic head (caput), a descending a procedure to generate music. And the great chromatic body (corpus) around a syncopated generator is this one theme, a shining fixture axis, rounded off with a wilfully gallant tail that gives poise and purpose to the composition (coda). From all accounts, Bach managed to as it unfolds. The legendary Canadian pianist improvise a terrific three-part fugue on the Glenn Gould considered fugue "an invitation spot. But when Frederick suggested a six-part to invent a form relevant to the idiosyncratic fugue, something unheard of on the keyboard, demands of the composition". Bach demurred. 85 Exactly two months later though, on July 7 prodigious son something to think about (as a 1747, he sent his reply: a musical offering – gift, a sacrifice even), and reasserted his long- Musikalisches Opfer – containing not only standing allegiance to the one and only King he a three-part fugue, but also the seemingly had dedicated his life’s work to: Soli Deo Gloria. impossible: a six-part fugue along with ten The irony of building a work out of a regal puzzle canons and a trio sonata, all based theme that was imposed on Bach rather than on the royal subject and using the old name created by him would not have been lost on RICERCAR: Regis Iussu Cantio Et Reliqua either Frederick or Emanuel. The king’s ongoing Canonica Arte Resoluta or “the theme given by correspondence with Voltaire predominantly the king, with additions, resolved in the canonic deals with one of the fundamental questions style”. of the age: predestination vs free will. We Everything about this present is deliberate, all know how that question was resolved on including two pithy epigrams between the the Paris barricades of 1789. But here we are fourth and fifth canon, at Palace Sanssouci, addressed in Latin to a in the presence of an king who much preferred enlightened king with to use French, the single distinctly anti-clerical inscription Quaerendo views and a composer invenietis, found over steeped in a deeply held Canon 9, alluding to the Lutheran conception of Sermon on the Mount the world. (‘Seek and ye shall find’), It should hardly come not to mention the idea as a surprise that most of an old-fashioned of J.S. Bach’s church church sonata as the compositions feature pièce de résistance for Frederick the Greatof Prussia fugue or fugue-like a king who despised sections (which we call anything that smelled of church tradition, and ‘fugato’). His B Minor Mass contains some of a long grovelling letter to accompany the whole the most monumental fugues ever written. package. What are we to think of it? If it were Starting with a threefold fugue on a dark and Mozart, we might think the exercise facetious. complex subject pleading for mercy, the work But Bach, facetious? finishes some 90 minutes later with a fugue The king’s theme cried out for a response, that is as simple as it is open-ended in its plea first and foremost through the promised for peace. six-part fugue that couldn't and wouldn’t be Earlier in his career Bach had written 24 improvised. Each of the two ‘ricercars’ presents Preludes and Fugues for the keyboard proving the given theme twelve times, in the three part both his skill as a player and as a composer in fugue embellished by a wealth of free flowing all 12 chromatic keys. During the last decade of material (governed by finger dexterity, just as his life he confirmed and finished the project: a it might have flowed from his fingers on that second book of the Well-tempered Clavier, and, day in Potsdam) , and in case of the six-part under the banner of Die Kunst der Fuge (The Art Ricercar by ingeniously crafted development of Fugue), a definitive work encompassing all of single cells drawn out of the theme itself. possibilities of the art form. No instrumentation Out of these two fugues new ideas flowed is specified and all the fugues derive from one that led Bach to proudly assert his mastery of single theme, in the one key of D minor. ancient counterpoint as well as his belief in its sacred origins. In the process, he rendered to Major developments in science and philosophy Caesar what was owed to Caesar, gave his most did not relinquish the idea of God or a Creator 86 as a point of origin till the 19th century. Similarly, fugue is much more Darwinian than it appears. the process of one single idea as the basis of In an age dominated by discussion around fate musical creation did not shift until composers and free will, Bach’s music embraced both: the actively started exploiting the contrast between things that are given and the things we make. In two different ideas, in what is commonly a fugue the theme always is ‘given’, no matter referred to as ‘Sonata form’ in classical style. how carefully constructed by the composer. Bach’s own sons were part of that movement Everything else that fills out this garden of and largely abandoned their father’s sacred composition is freely chosen and laid out, yet it quest. The rise of the fugue as an abstract wouldn’t exist without that initial moment when genre could easily be described as the musical one becomes two before two become three. equivalent of the Christian monotheistic Is that a creator’s genius at work or is it a sign argument. Yet the truly extraordinary thing of the self-generating power contained in one is that well before scientific observation and musical cell? experiment replaced the idea of God with the Roland Peelman notion of evolution, Bach’s idea of building a
Title page, The Art of Fugue 1st edition 1751
National Gallery of Australia Friday 10 May James Turrell Skyspace 5.15 pm and 5.30 pm PRESENTED IN ASSOCIATION WITH THE NATIONAL GALLERY OF AUSTRALIA SUNSET SERENADE Tobias Cole sings Sing The Sky (WP) by Jess Green. Commissioned by A Major Lift
87 THE SATURDAY PAPER. SPOT THE DIFFERENCE.
Essential coverage this election year. Karen Middleton, Paul Bongiorno, Mike Seccombe and more ●
VISIT THESATURDAYPAPER.COM.AU/SUBSCRIBE OR CALL 1800 077 514 Fitters' Workshop Friday 10 May 7.30 pm THE SATURDAY PAPER PRESENTS with the support of the University of New South Wales CONCERT 17 THE CHILDREN'S BACH by Helen Garner
True Stories - Helen Garner, 2003 by Jenny Sages Collection: National Portrait Gallery, Canberra
THE CHILDREN’S BACH by Helen Garner
Opera by Andrew Schultz b. 1960 Libretto by Glenn Perry
CAST Athena - Natalie Christie Peluso soprano Dexter - David Greco baritone Billy - Michael Cherepinskiy Poppy - Anna Khan Elizabeth - Anna Fraser mezzo soprano Philip - Andrew Goodwin tenor Vicki/Angie/girl - Amy Moore soprano
ENSEMBLE Jason Noble clarinet Chris Latham violin Blair Harris cello Max McBride double bass Niki Johnson percussion Edward Neeman piano
directed by Roland Peelman
This concert is supported by GAIL FORD
89 The Children’s Bach he Children’s Bach, a compilation of small and anger, including tinkering with or hammering TBach pieces edited by E. Harold Davies, an old upright piano. If Billy provides a simple frame started penetrating Australian households for the opera…and provides moments that are not from the moment of its publication in 1933. It is plot-connected, likewise young Poppy, sitting up precisely in these domestic spaces of intimacy in bed, literally gives us a children’s Bach as, from and negotiation that most of Helen Garner’s time to time, she reads aloud passages that explain early fiction takes place. The Fox household, the musical structure of the fugue and the nature Dexter and Athena, ensconced in suburban of counterpoint. She doesn’t do this in the novel, Melbourne’s Bunker Street, live a fairly contented but in the opera Perry deftly uses it to provide her life caring for their two boys. In the opera only with focus, a desire to learn, a preoccupation, as one boy appears, young Billy who has a form of she drifts away from the amiable intimacy with autism and adds a considerable burden to their her father; and offers the audience an unfussy relationship. The moment Dexter’s old friend theoretical counterpoint to the unfolding story. Each Elizabeth and her lover Philip turn up, things of Poppy’s readings from her ‘Children’s Bach’ seem change and fantasies of escape start to disrupt to trigger the requisite realisation of the theory from their sense of order and peace of mind. the orchestra, driving the opera on but also adding to the sense of moment, a certain thoughtfulness, a Lord Alfred Tennyson, confident patriarch and musical reflectiveness.” author of the ‘The Lady of Shalott’, that great Victorian poem about female entrapment, is The politics of human, and of gendered, relations referred to in Garner’s opening paragraph to informs the drama of The Children’s Bach. the novella. The confines of Schultz’s opera Athena, Vicki, Elizabeth and Poppy represent, in require us instead to listen and watch. Like various ways, female experience, opportunity, Tennyson’s ‘Lady’, we see Athena tinkering with and expectation. They exist in a world where her art, removed from the outside world. Like ‘girls cry in the lavatories’; a world where women Tennyson’s ‘Lady’, we watch her being tempted are sexually harassed on buses and denigrated and seduced into a world of risk and uncertainty. through obscene humour. But they also exist Yet Dexter insists that Athena is a ‘saint’, and that in a world – unknown and abhorrent to Dexter she is lured away by Philip because she is ‘naïve’. – where the ‘rules’ of ‘modern life’ allow them Philip’s daughter Poppy thinks she is ‘perfect’. sexual freedom and personal liberty. To Elizabeth’s young sister Vicki, she seems At some point in the work, Elizabeth remarks: ‘contained, without needs, never restless’. ‘“The Children’s Bach”. God, listen to this – how Meanwhile, Athena’s shoulders ‘tremble with pompous. “Bach is never simple, but that is one holding back’. reason why we should all try to master him.”’ We In the book, each character has a unique can substitute ‘life’ and ‘marriage’ for ‘Bach’ in approach to music, reflecting their personality that sentence and capture some of the essence and their relationships with each other. In the of The Children’s Bach. Garner’s tale about opera this becomes a potent structural device emotional isolation in suburbia, loneliness and that offsets many forms of disruptive or irrational escape has gained another dimension in the behaviour. An old upright piano becomes the opera. Neither grand nor grandiose, beautifully focus of their frustrations and triumphs. Music, underplaying the drama, the opera succeeds in a as language, metaphor, and lived experience, musical domestic space by bringing us all down infuses the narrative and ultimately spins its to Billy’s silent struggle amidst the cropped up own narrative through the opera. Keith Gallasch complexities of modern living. in RealTime (2008) commented that Roland Peelman “Within the opera Billy punctuates the action with his moments of intense preoccupation, frustration 90 SYNOPSIS The Children’s Bach is a contemporary story Meanwhile Vicki, the abandoned child seeking set on the banks of Merri Creek in inner- a mother, finds one of sorts in Athena, and suburban Melbourne. Dexter and Athena becomes a second mother to the disturbed live in a ramshackle house with no TV and child, Billy. Dexter surprises his own moral an outside loo. They are comfortably happy, values by a night of drunken sex with Vicki, but although life with their disabled son, Billy, has through the experience of Athena’s actions taken its toll. When Dexter encounters an ex- in trying to escape him, discovers just how lover from university, Elizabeth, she brings into precious Athena and Billy are to him. their lives her lonely 17-year old sister Vicki; her Athena doesn’t find liberation in ‘freedom’, and boyfriend, Philip, a charming and talented love- decides to return to her known world of family them-and-leave-them rock musician; and his life. But when she takes up her own life again, musical daughter Poppy. Athena finds herself there is something wilful and self-possessed attracted to Philip, and she decides to escape about Athena's new confidence with the piano; the confines of her domestic ‘cage’, fleeing the way she will “toss handfuls of notes high from her family to Sydney where she explores into the sparkling air”. Philip’s life of abandon and sexual freedom.
First edition 1986
International edition 1986
1999 edition
Modern classics edition 2008
91 CANBERRA CHORAL SOCIETY DIARY DATES FOR 2019
7.30PM, 29 JUNE Carmina Burana with the Canberra Youth Orchestra
2.30PM, 14 SEPTEMBER Sol y Luna at the Albert Hall
7.30PM, 30 NOVEMBER Messiah—a come and sing event
canberrachoralsociety.org 92
COMF PROGRAM AD FOR CCS DIARY DATES.indd 1 28/3/19 12:36 pm National Library of Australia Saturday 11 May 8.30 am IN ASSOCIATION WITH THE NATIONAL LIBRARY OF AUSTRALIA FESTIVAL EXTRA BACH FOR BREAKFAST #6
8.30 am Pastries, tea and coffee
9.00 am Johann Sebastian Bach 1685-1750 Cello Suite no. 1 in C BWV 1007 Prelude – Allemande – Courante – Sarabande – Minuet – Gigue
Anton Baba baroque cello
9.30 am Genevieve Jacobs in conversation with Helen Garner, author of The Children’s Bach, composer Andrew Schultz and librettist Glenn Perry.
“Many musicians can walk around town without being spotted as musicians. I am the proud owner of a chocolate brown cello case with creamy racing stripes, so people are drawn to enquire what it is that I play. And the next question often is, do I know CANBERRA CHORAL SOCIETY that one famous piece? How does it go DIARY DATES FOR 2019 again?...” - Anton Baba
7.30PM, 29 JUNE Carmina Burana with the Canberra Youth Orchestra
2.30PM, 14 SEPTEMBER Sol y Luna at the Albert Hall
7.30PM, 30 NOVEMBER Messiah—a come and sing event
canberrachoralsociety.org 93
COMF PROGRAM AD FOR CCS DIARY DATES.indd 1 28/3/19 12:36 pm The Multi award winning Realm Precinct, located on the footsteps of Parliament House, offers diverse high-quality accommodation, Chef Hatted restaurants, a casual lounge bar, wholefoods café, health club, hair salon and day spa.
61+ 2 6163 1800 | [email protected] | 18 National Circuit Barton ACT 2600 | www.domahotels.com.au Fitters' Workshop Saturday 11 May 11.00 am With the support of the Belgian Government CONCERT 18 PRELUDE AND FUGUE
The Multi award winning Realm Precinct, located on the footsteps of Parliament House, offers diverse high-quality accommodation, Chef Hatted restaurants, a casual lounge bar, wholefoods café, health club, hair salon and day spa.
Johann Sebastian Bach 1685-1750 Prelude and Fugue in E-flat major, BWV 852 fromThe Well-Tempered Clavier Book I Sinfonia & Inventio in E-flat major, BWV 791 & 776
François Couperin 1669-1733 Cinquième prélude (in A major) from L’art de toucher le clavecin (1716) Johann Sebastian Bach Fantasie and Fugue in A minor, BWV 904
Georg Böhm 1661-1733 Prelude, Fugue and Postlude in G minor IGB 28 Johann Sebastian Bach Prelude and Fugue in G-sharp minor, BWV 863 from The Well-Tempered Clavier Book I Prelude and Fugue in G-sharp minor, BWV 887 from The Well-Tempered Clavier Book II François Couperin Second Prélude (in D minor) from L’art de toucher le clavecin
Alessandro Scarlatti 1660-1725 Toccata 7ma per Cembalo d'Ottava stesa
George Frideric Handel 1685-1776 Prélude (Adagio – Allegro) from Suite No. 8 in F minor HWV 433 Johann Sebastian Bach Inventio & Sinfonia in C major, BWV 772 & 787 Prelude and Fugue in C major BW846 from The Well-Tempered Clavier Book I
Korneel Bernolet plays a French double manual harpsichord after Jean Goujon (early 18th century) made by Andrew Garlick in Somerset, UK. We wish to thank Neal Peres da Costa for the loan of this instrument.
61+ 2 6163 1800 | [email protected] | 18 National Circuit Barton ACT 2600 | www.domahotels.com.au 95 Prelude to Fugue ong before digital calendars, iPhones and any type of keyboard will do (no feet required). Lalarm clocks, the gift of improvisation was ‘Well-Tempered’, not because keyboards were a much valued quality in the era of waiting. For subject to sudden mood swings, but because this purpose, musicians in church and at court Bach had clear opinions on how the keyboard were employed, sometimes even handsomely had to be tuned so that it would facilitate multiple rewarded. This practice was called ‘prelude’, modulations, and sound good in every possible and it could go on as long as the circumstances key. There is a distinct element of validation required, in sombrely funereal fashion if needed in his title and, as with much of his keyboard (not uncommon) or in spur-of-the-moment, output, also a stated pedagogical purpose: “for entertaining, even attention-seeking animations the profit and use of musical youth desirious of if appropriate. The word ‘Fantasia’ captured learning, and especially for the pastime of those the free un-meditated flow of harmonic already skilled in this study”. The two- and three- progressions and even allowed for sudden shifts part inventions composed around the same of mood and tempo, with time fit a similar purpose, delays, false endings or directly linking mastery of inspired detours along the the keyboard with mastery way. In the 17th century a of musical ideas, i.e. ‘Toccata’ involved rapid composition itself. In thirty and continuous finger short pieces, the process display, with contrapuntal of finding a good idea sections interspersed. A (Inventiones) and realising ‘Chorale Prelude’ would the idea with three voices attempt to intertwine (Sinfoniae) is artfully the chorale du jour as a demonstrated, either as last minute reminder for a canon, a mini-fugue, a those gathered in waiting. song (aria) or a dance. When by the end of the The specific combination prelude expectations of prelude and fugue were exhausted and/or which Bach concentrated raised in equal measure, upon opens up a myriad proceedings could start as of opportunities within planned, with nothing left François Couperin this set duality of free to chance. Enter the fugue, arguably the most (prelude) vs. strict (fugue), related to church compositionally taxing form of the late 17th and practice (where prelude-fugue pairing was de 18th century. rigeur) or dance forms or more abstract formal considerations. Bach’s A Minor Fantasia and Fugue is a brilliant example of something that was born out of the The first book, completed in 1722, follows on above predicament. At some stage Bach would from a series of solo works for violin (1720) and have decided to write it down and we all now cello (1720-23) as well as a collection of French recognise it as BWV 904: a seductive piece of keyboard suites. Comprising a prelude and writing that puts the spotlight on a great player. fugue on every pitch within the octave in both major and minor keys, it makes for a collection of Today’s harpsichord recital by Korneel Bernolet 24. By 1744, an equally impressive second book revolves around a number of Preludes and would be ready for print. Fugues by Bach. It is J.S. Bach who eternalised the pairing in not one but two volumes entitled Just imagine Bach sitting down to improvise at The Well-Tempered Clavier. ‘Clavier’, because the keyboard. Something like the E-flat major
96 Prelude and Fugue might just flow out of his well as harmonically – which is exactly what is fingers: free wandering finger melismas stopped demonstrated in this otherwise modest but by an embryonic motet in old-fashioned beautifully mellifluous piece. The G# in Book fugal style. He then manages to turn flowing II does not labour the technical point at all, but figures into a new theme and combine it with rather paints a broad galant canvas exploiting the the slow counterpoint until he decides to let possibilities of the double manual in its prelude it wind down as freely as it started. It is hard and following it with an astonishing double fugue to believe that, while some writers regard this woven in continuous triplet quavers, where the prelude as the greatest of them all, the fugue second subject spins an entire melody out of proper with its rocket-like semiquaver theme semitones before these increasingly knotted has been dismissed by others as Bach’s most lines come to rest on one last unison. superficial effort! But with all its irregularities This Bach selection is interwoven with examples and spontaneous flavour, the fugue too once of composers whose music Bach was eminently flew out of his finger’s nest. familiar with: Böhm because he taught the The C Major section that ends the program young Bach around 1700-02; Alessandro is a much more logical construction that Scarlatti because Italian scores made their way moves from the Invention’s tetrachord (four to Northern Germany and had great influence consecutive notes) via the scale (Sinfonia) to the on the changing taste of the audience during arpeggio figure that made this opening Prelude Bach’s lifetime; Couperin, because Bach to The Well-Tempered Clavier so memorable. entertained a lively correspondence with the Please note that the fugue that follows is based French master, harpsichordist for no less a exactly on the same tetrachord, once the basis figure than Louis XIV. Like Bach, all three were of all music theory. scions of significant musical dynasties, Böhm and Couperin as keyboard specialists and A. In the middle of this chiastic recital program Scarlatti as an opera specialist. Ironically, it is the Bernolet has chosen the two fugues that were latter’s son Domenico, born in the exact year of more or less unthinkable before Bach because Bach’s birth, 1685,who became the harpsichord of the key of G# Minor, using five sharps at the specialist if ever there was one. His staggering clef and frequent double sharps. The tuning collection of keyboard works was coined in the of the instrument therefore has to allow for standard format of two sections, called Sonata a tempering of the sharp notes so that they at the time. Bach might have called such a thing equally work as enharmonic flats and so that a ‘prelude’. But Fugue? Certainly not. the normal G and D sound just as convincing as F## and C## respectively, melodically as Roland Peelman
97 TOWNSVILLE 26 JULY TO 4 AUGUST 2019
Enjoy music in the tropics with holiday packages priced from $377 per person.
Escape to North Queensland for the perfect combination of fine music, winter warmth and holiday relaxation. Forty of the world’s greatest musicians will perform in Townsville over 10 days. Exclusive holiday packages include three nights accommodation and three Festival concerts.
AFCM.COM.AU BOOK ONLINE OR CALL 1800 449 977 HOLIDAY PACKAGES 1300 799 342
98 Fitters' Workshop Saturday 11 May 2.30 pm
CONCERT 19 BACH IN AFRICA
TOWNSVILLE Johann Sebastian Bach 1685-1750 Lansana Camara kora From Art of Fugue, BWV 1080 26 JULY TO Contrapunctus II Jason Noble clarinet Contrapunctus IV 4 AUGUST 2019 James Wannan viola Lansana Camara Traditional West African kora music Blair Harris cello
Roland Peelman piano Moya Henderson b. 1941 Enjoy music in the tropics with holiday G’day Africa I (1990) Penny Quartet: packages priced from $377 per person. Lansana Camara Traditional West African kora music Amy Brookman violin
Escape to North Queensland for the perfect combination Madeleine Jevons violin Moya Henderson of fine music, winter warmth and holiday relaxation. G’day Africa II (1995) Anthony Chataway viola Forty of the world’s greatest musicians will perform in Lansana Camara Jack Ward cello Townsville over 10 days. Exclusive holiday packages include Traditional West African kora music with three nights accommodation and three Festival concerts. Moya Henderson Edward Neeman piano G’day Africa III (1995)
Lansana Camara AFCM.COM.AU Traditional West African kora music BOOK ONLINE OR CALL 1800 449 977 Johann Sebastian Bach Canon alla Duodecima from Art of Fugue, BWV 1080 HOLIDAY PACKAGES 1300 799 342 Moya Henderson G’day Africa IV (2017/18) (WP)
This concert is supported by CLAUDIA HYLES WP – WORLD PREMIERE
99 Bach in Africa “Bach is thus a terminal point. Nothing comes from him; everything merely leads to him.” Albert Schweitzer made some of his most memorable observations about Bach in the middle of Africa, once he had established his hospital in French Congo. This concert weaves a gentle dialogue between Moya Henderson’s jaunty nods to Africa and Lansana Camara’s direct musical line from Guinea, West Africa.
G’day Africa A clarinet solo called Glassbury Documents I, written as early as 1978, happens to be the prequel to G’day Africa. The piece was full of melody, and I attempted to cover my blatant lyricism by asking the clarinettist to play as fast as possible! It is during that year that one of Stockhausen’s graduate students at the Cologne Musikhochschule, Kevin Volans, shared with me recordings he had made the previous year on a music-safari in his homeland, South Africa. Moya Henderson Photo: Peter Hislop Kevin’s recordings of mostly Zulu and Basotho music thrilled and astonished me. They remained a major inspiration throughout my life. The firstG’day Africa was written to celebrate However, back in the late 70s, Western music the end of Apartheid in South Africa and the was still in the grip of Style Lords. Atonality and release from prison of Nelson Mandela in acerbic modernism dictated les sons du jour. So 1989. Queensland University’s Perehelion much so that bush music out of Africa had to commissioned and premiered the first three be rated as low-brow. Of course, it was nothing G’day Africas during the 1990s. It was only of the sort. In any case, I had the good fortune last year (2018) that Roland Peelman hatched to study with two totally different composition the idea that I write a fourth G’day Africa for professors, Kagel and Stockhausen, so that I an expanded ensemble. Dr John Davies is never felt beholden to the the commissioner of ideology of either. I could this latest piece. The freely skip around and Queensland link is about them both. maintained. Those recordings from Interestingly, there were Africa that (the now very few Africans in famous) Kevin Volans Australia when I wrote the shared with me, so soon first G’day Africa in 1990. after our post-grad According to the 2016 studies in Cologne forty census, there are now years ago, were such a Kevin Volans Photo:José Pedro Salinas about 200,000 Africans gift. The lilting, melodic living in Australia. This patterns and complex, driving rhythms of influx is bound to have an impact on Australian this music have coaxed me towards on-going musical culture in days to come. explorations into these intrinsic characteristics Moya Henderson © 2019 of music.
100 Griot d’Afrique Griot is the French word for the local ‘jali’ The instrument itself, a large calabash cut (bard), kora-playing singers/storytellers, in half and covered with cow skin to make a and an artform with a long history amongst resonator, shares certain characteristics with the Mandinka people who can be found in a European plucked instruments (harp, lute, number of West African countries. Spanish guitar). What makes the instrument so distinct, however, is its long neck supporting Lansana Camara stems from Guinea-Conakry 21 strings in two ranks, 11 for the left hand and (as opposed to other countries named 10 for the right, allowing for sophisticated Guinea), a small nation on the West African polyrhythmic patterns. Earliest mentions of coast, French speaking and predominantly the kora go back to the 14th century attesting to Muslim. He now represents the griot culture the instrument’s central place in West African in Australia, playing the kora and by adding his culture. Its more recent impact on the world voice continuing the grand old tradition of his music scene has been equally remarkable. ancestors.
101 Fitters' Workshop Saturday 11 May 5.00 pm
CONCERT 20 GOLDBERG VARIATIONS/VARIATIONS
Photo: Nicolas Joubard 2018
Johann Sebastian Bach 1685-1750 Aria and Variations, BWV 988 Dan Tepfer piano With improvisations by Dan Tepfer
Aria (Bach/Tepfer) Variation 1 Variation 9 Improvisation 1 Improvisation 9 Variation 2 Variation 10 - fughetta Improvisation 2 Improvisation 10 - fuguelike Variation 3 – canon at the unison Variation 11 – canon at the third Improvisation 3 – canonic 1 Improvisation 11 - thirds Variation 4 Variation 12 – canon at the fourth Improvisation 4 Improvisation 12 - obsessive Variation 5 Variation 13 Improvisation 5 Improvisation 13 Variation 6 – canon at the second Variation 14 Improvisation 6 – canonic 2 Improvisation 14 Variation 7 Variation 15 - canon at the fifth Improvisation 7 Improvisation 15 - canonic 5 Variation 8 Improvisation 8
This concert is supported by WARREN CURRY and RANDY GOLDBERG
102 Variation 16 - ouverture Variation 24 – canon at the octave Improvisation 16 Improvisation 24 – canonic 8 Variation 17 Variation 25 Improvisation 17 Improvisation 25 Variation 18 – canon at the sixth Variation 26 Improvisation 18 - sixths Improvisation 26 Variation 19 Variation 27 – canon at the ninth Improvisation 19 Improvisation 27 Variation 20 Variation 28 Improvisation 20 Improvisation 28 Variation 21 - canon at the seventh Variation 29 Improvisation 21 - sevenths Improvisation 29 Variation 22 Variation 30 - quodlibet Improvisation 22 Improvisation 30 - mashup Variation 23 Aria (Tepfer/Bach) Improvisation 23
The Aria from the Goldberg Variations
103 Goldberg and the science of insomnia “And even in our sleep, and the B Minor Mass – this set of variations is a the pain that does not forget comprehensive work that attempts putting the falls drop by drop upon the heart whole world into sound. The Canadian Bernard until, against our will, comes wisdom Labadie says that “The Goldberg Variations are by the awful grace of God above.” like the Earth spinning on an orbit. If you know in advance the structure, you can guess what his is what Aeschylus wrote in his play kind of music will come. It’s like the planets in Agamemnon 2,400 years ago. It hints at T revolution.” the pathology as well as the attitude towards sleep or sleep-deprivation. Even in these Throughout his life, Bach had paid scant scientifically sophisticated days, the causes of attention to the Variation genre, either because insomnia remain unclear. Reduced levels of the variation through ornamentation and figuration inhibitory neurotransmitters, stress, trauma is inherent to baroque customs, or because the or illness are commonly blamed. Patterns circumstances of his employment urged other of behaviour during waking hours are also at priorities. But his connection with the affable play, and no small part of the equation is the and erudite Count Keyserlingk prompted a very central issue of what actually is perceived as new and original addition to the three already sleep deprivation. One eminent doctor once published books of Clavier-Übung. Young confided in me two simple facts: 1. everyone Goldberg, as a gifted student of Bach, may not needs sleep, and 2. no one ever died of sleep have been quite ready for all 30 variations, but deprivation… the work would have given him something to aspire to, a supreme exercise indeed for fingers The story of Count Keyserlingk’s insomnia and and mind. his connection with Bach’s Goldberg Variations via the 14-year-old Johann Goldberg is a story It is important to understand that Bach does recounted by Forkel, Bach’s first biographer, not attempt to write variations on the melody writing some 50 years after Bach’s death of the aria, but uses the bass pattern as his based on supposed stories by Bach’s sons who point of departure. The work thus develops weren’t even in Leipzig in the 1740s. Since the with clear structural intent: thirty variations in Count did not die of sleeplessness, and since ten groups of three, every first one being ‘free’, he had the means to employ a young musician every second one being a two part invention to play for him till the early hours and perhaps or toccata, and the third one as a canon at an even to commission music that might send increasing interval (unison, second, third etc). him to sleep (the evidence on both counts The series of canons reaches its apogee in the being flimsy), we all have become the fortunate 27th variation (canon at the ninth, or 3x3), but recipients of a work that has kept many musical a canon at the tenth would have been all too souls awake for the last 250 years. Bach, being predictable. Instead, for the thirthieth and last Bach, grabbed the opportunity not only to write variation Bach gives free rein to his inner wit the ultimate sheep-counting sequence (thirty in a quod-libet (freely translated as “anything variations on a thirty-two note bass line of a goes”, a quod-libet combines various existing very soothing Sarabande Aria), but to compose folk tunes) on two German folksongs: Ich bin so something he had never done before: thirty lang nicht bei dir gewest (“Long time no see”) demonstrations of variation technique making which resembles the chorale Was Gott tut, use of all the stylistic and contrapuntal means das ist wohlgetan (Gastorius 1681), and Kraut at his disposal. und Rüben haben mich vertrieben (“Cabbage Like all the major works completed in his last and turnips have driven me away”), a melody decade – the second book of the Well-tempered of Italian origin, known as the Bergamasca. Clavier, the Musical Offering, the Art of Fugue In addition, Sweelinck’s age old theme Mein 104 junges Leben hat ein End (“My young days are work as those who play it with two hands only. coming to an end”) enters the fray. The melody, Bach’s own manuscript of the Goldberg and Sweelinck’s set of variations, had served Variations was discovered as late as 1974 in as a model for many a composer in Northern Strasbourg. In this copy he carefully annotated Germany during the 17th century; Bach would corrections to the score and, what’s more, have encountered it in his youth. All melodies on the inside of the back cover he scribbled are used canonically as in the nine preceding a number of canons based on the first eight canonic variations, turning this dense network notes of the bass line in Goldberg. As the work of tunes, turnips, canons and cabbages into a clearly continued to occupy his imagination, true apotheosis of craft and artistry, the likes of we should not be surprised by the fact that which had never been attempted on this scale. musicians in this day and age share the same Playfulness and fantasy combined with passion for ongoing experimentation. Dan intellectual rigour form the dual key to Tepfer’s improvised variations mirror Bach’s understanding Bach’s Goldberg Variations. structure closely, canons included. In this Acknowledged as a central work in the Western way, Bach’s finite gravity-driven universe as keyboard canon, it recounts the past in all its defined by Kepler and Newton makes way, step contrapuntal ingenuity, whilst the sheer level by step and thirty times over, for a new sound of perpetually renewing imagination opens the world that is uncertain, unquantifiably ours, doors to a rich future for the variation form in probing into deeper levels of consciousness the 19th and 20th century. Anyone attempting and exploration. The result is a double feat of to play these Variations requires equal doses of architectural high jinks and an ever expanding playfulness and rigour. This applies as much to reach for the stars. those who make instrumental versions of the Roland Peelman
105 Smiths Alternative Saturday 11 May Alinga St, Canberra 10.00 pm IN ASSOCIATION WITH SMITHS ALTERNATIVE with the support of the Australian National University School of Music SPECIAL EVENT JAZZ UP LATE
Dan Tepfer piano
Sam Anning double bass
Alex Hirlian drums
106 Jazz Up Late
n 24 August, 2013, Tompkins Square Park in Manhattan’s Lower East Side was filled with a Ouniquely American crowd. From the stage, Lee Konitz surveyed the crowd, paused, and said “we got all shades of people here… New York.” Konitz has been making New York music for a long time. In 1949 he recorded Birth of the Cool with Miles Davis, lending his lithe, youthful melodic energy to a document that has done as much as any to confirm jazz’s place at the table alongside the great art music traditions of the world. He’s continued in every decade since, right through to his current decade-long collaboration with the man playing piano that late summer day in front of Charlie Parker’s old apartment, Dan Tepfer. As the afternoon light stretched out, characters in the in the crowd started to emerge. They were ardent jazz fans, and clearly felt at liberty to take their place in the music, clapping their satisfaction after solos, and giving verbal affirmation phrase by phrase. Late in the set, one man stood up and started dancing, alone, by the corner of the stage. Tepfer, looking over from the piano, began to “comp” – jazz parlance for accompaniment – entering a state of palpably deep listening that is one of his hallmarks as a musician, finding the exact shade of harmonic colour to dye each thread of melody his soloist weaves. But in this case he wasn’t comping a soloist, but his audience, looking out with intense focus at the dancing man and responding in music to his every movement. I know this because I was there. It was my first ever day in New York City; I was broke from travelling too long and jetlagged, but I thought I’d died and gone to musical heaven. I’d tried to get there before. Three years earlier Konitz had come to the Melbourne Jazz Festival flanked by a band of innovative jazz musicians of a younger generation, Tepfer and the guitarist Kurt Rosenwinkel among them. I spent all day on the Hume Highway to get to the concert, and was in traffic in Coburg when I got the text: the concert was cancelled. With nothing else to do, I went to the late-night session at Bennett’s Lane. The night wore on, and the band showed up, wearing the shock of the day – Lee Konitz had suffered a subdural haematoma, and no one seemed to know if he would pull through. After midnight they put down their drinks and got up to play, and by 3 am I had learned something about what music can do. That’s why we play jazz, and why we play at night – to exhale in music what we have breathed in through the day, to take the moment and make sense of it somehow. Dan Tepfer embodies this spirit, and the spirit of what we do at this Festival. Whether he’s responding to the Goldberg Variations, a jazz master, the body-music of a dancer in the park, or an algorithm programmed into a Disklavier, his music is always about plumbing the depths of the present moment and the human connections within it. It’s about being there. Lee Konitz survived, and still performs, 91 years young. He and Dan have a new record, Decade, marking their ten-year anniversary as collaborators. When I met Dan on that day in Tompkins Square Park, I explained the significance of that afternoon for me. He understood immediately, but said only, “you were there that night”. I was there – I really was. Alex Raupach
107 VENUE HIRE
Spaces large and small: classrooms, large halls, co-working spaces, breakout rooms, courtyards, and beautiful heritage function spaces, all with the versatility to meet your conferencing, workshop, and function needs. Weddings: from an intimate garden party to a large celebration, both Ainslie and Gorman are ideal settings for your special day. Image Credit: Elizabeth Curry Festivals: we collaborate with other RESIDENT ORGANISATIONS community focused organisations as Classes and Workshops are a daily occurrence, run by well as organise a number of our own a host of local arts organisations specialising in dance, outdoor festivals with combines a music, theatre, writing, youth arts, and family activities. collective love for live music, live perfor- Calling AGAC home are Music For Canberra, Ausdance- mance arts, visual arts, and all manners ACT, ACT Writer’s Centre, Canberra Youth Theatre, QL2 Image credit: Andrew Sikorski, Art Atelier of creative making. Dance, and many more.
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PREMIUM COOL CLIMATE WINES Join us in Murrumbateman, the heart of Canberra’s wine district — Shaw Wines offers a relaxing escape amongst the vines. Visit our new architecturally designed cellar door for a tasting of award winning wines including the recently awarded Australia’s best Cabernet Sauvignon at the International Wine Challenge in London.
Open 7 days 10am–5pm • shawwines.com.au • (02) 6227 5827
108 NEW CELLAR DOOR NOW OPEN! Fitters' Workshop Sunday 12 May 11.00 am REGION MEDIA PRESENTS CONCERT 21 BACH FOR ALL
Bree van Reyk b. 1978 To Peg Mantle, with thanks (WP) sonic.art saxophone quartet Commissioned by CIMF with support from the APRA Art Music Fund Penny Quartet Johann Sebastian Bach 1685-1750 Greatest hits Canberra Grammar School Choir Toccata and Fugue in D minor, BWV 565 Air from Third Suite in D, BWV 1068 Canberra Grammar School Chorale Concerto for two violins in D minor, BWV 1043 Vivace – Largo ma non tanto – Allegro Luminescence Children’s Choir Soloists: Amy Brookman and MadeleineJevons Turner Trebles Rondeau, Bourrée and Badinerie, BWV 1067 Vocal Fry 5 Chorales Herr Jesu Christ, du höchstes Gut, BWV 334 Canberra Youth Orchestra O Ewigkeit, du Donnertwort, BWV 11
Wie schön leuchtet der Morgenstern , BWV 436 directed by Leonard Weiss O Haupt voll Blut und Wunden, BWV 244 Wachet auf, ruft uns die Stimme, BWV 140
Zion hört die Wächter singen from Kantata BWV 140 Jesus bleibet meine Freude from Kantata BWV 147 Magnificat from Magnificat, BWV 243 Dona nobis pacem from Mass in B minor, BWV 232
This concert is supported by MAJOR GENERAL THE HON. MICHAEL JEFFERY and WP – WORLD PREMIERE MRS MARLENA JEFFERY 109 Give the Gift of Music The 25th birthday of the Canberra International Music Festival is the perfect time to look back and reflect on how far we have come, and to celebrate our maturing journey from the kitchen tables of our original founders to the boardroom and arts professionals we are today. We are very proud of the way the Canberra International Music Festival has supported the creation of Australian music and the careers of emerging musicians. A commitment to performance excellence has seen the Festival carve a place on the artistic calendar both for the people of Canberra, and now far beyond. Turning 25 gives us the confidence to look to the future. A future we hope you will consider supporting by leaving a gift in your will so generations to come can share the joy of music with our festival community. The gift you leave, collectively with others, will ensure that the Canberra International Music Festival is endowed to continue its support for artists and composers and invest in the advancement of Australian music for years to come. For more information and a confidential discussion about how you could become a trustee of our future, please contact Jennie Cameron at [email protected] or phone 0408 167 043. Information is also available from our office 6230( 5880) or our website (cimf.org.au – go to Support Us).
110 National Gallery of Australia Sunday 12 May Fairfax Theatre 2.30 pm With support from the Canada Council for the Arts and the Ontario Arts Council CONCERT 22 AUGMENTED PIANO: SOLO FOR DUET
Linda Catlin Smith Thought and Desire (2007)
John Oswald Homonymy (for auto-playing piano, pianist and cinema) (2016)
Nicole Lizée David Lynch Études (2016)
Eve Egoyan and David Rokeby Surface Tension (2009)
Michael Snow EV∃ (solo piano for Eve Egoyan) (2014)
Eve Egoyan Duet for Solo Piano (2018)
Eve Egoyan disklavier
This concert is supported by LILIAN & GOVERT MELLINK and MORE THAN MEDICINE
111 COMPOSERS’ NOTES Linda Catlin Smith William Shakespeare: Sonnet 45 Thought and Desire (2007) The other two, slight air and purging fire, Are both with thee, wherever I abide; The first my thought, the other my desire, Thought and Desire (2007) is a piano piece These present-absent with swift motion slide. with a vocal part for the pianist. The text is For when these quicker elements are gone Shakespeare’s Sonnet 45. I wrote this work In tender embassy of love to thee, as a wedding anniversary gift for Austin and My life, being made of four, with two alone Beverly Clarkson. It is a quiet, intimate love Sinks down to death, oppressed melancholy, song, reflecting on a long partnership between Until life’s composition be recurred two people, and between these two sides of By those swift messengers returned from thee, ourselves: thought and desire. Who even but now come back again assured Of thy fair health, recounting it to me. This told, I joy, but then no longer glad, I send them back again and straight grow sad.
John Oswald Homonymy (for auto-playing piano, pianist and cinema) (2016) This arrangement is based on a 1998 design, and piano transcription by John Oswald. commission by the Société de musique Piano preparations and piano performance contemporaine du Québec for chamber composed and initially choreographed by John ensemble (no piano) and cinema. Composition, Oswald with Eve Egoyan. libretto, animation, francophonic typeface
Nicole Lizée David Lynch Études (2016) David Lynch Études is the fifth in a series of surrealist — and sometimes disturbing — imagery. glitch pieces that delve into the worlds of iconic Written for and dedicated to Eve Egoyan, her filmmakers who have made an impact on my performance takes on the characteristics of aesthetic. Scenes from David Lynch’s catalogue ‘Lynchian’ glitch as the two sources weave are corrupted and merged with piano to form and interact - reflecting the dreamy, hazy, and an immersive and psychedelic journey. The twisted otherworldliness. piano writing is a musical mirror of the absurdist,
Eve Egoyan and David Rokeby Surface Tension (2009) Surface Tension extends the piano into a visual, different aspects of her performance. This as well as musical, instrument. Custom software, interactive relationship unfolds in real time as created by David Rokeby in collaboration with these worlds respond to Eve, and Eve in turn Eve, translates Eve’s improvisations into 5 responds to them. different visual worlds, each responding to
112 Michael Snow EV∃ (solo piano for Eve Egoyan) (2014) The title describes not only the pianist, but also that best conveyed Snow’s performance. This the structure of the composition. Left hand score, then edited and internalized by Eve, activity meets right hand activity, crossing over formalized the effects of Snow’s improvisations. in the middle. Snow composed the work by On the one hand the piece was written for Eve playing into Eve’s piano which has the capacity but on the other hand, it comes out of how Snow to transcribe. David Rokeby created software plays that translated this transcription into a notation
Eve Egoyan Duet for Solo Piano (2018) Duet for Solo Piano delves into the space its limits. Commissioned by the Ontario Arts between “what a piano can do” and “what I wish Council, early creative work took place during a piano could do”, a conversation between a residency at Avatar in Quebec City, with the real piano and my dreams of going beyond technical assistance from Patrice Coulombe.
Eve Egoyan: SOLO FOR DUET Performed by Eve Egoyan Conceived by Eve Egoyan with Nicole Lizée, John Oswald, David Rokeby, Linda Catlin Smith, Michael Snow Director and Dramaturge: Joanna McIntyre Set and Costume Design: Cheryl Lalonde Lighting Design: Simon Rossiter Technical Producer: Phil Strong Vocal Coach: Katherine Duncanson
Touring Team: Production/Stage Manager: Cheryl Lalonde Audio/Video operation: Phil Strong
This is one of the 200 exceptional projects funded through the Canada Council for the Arts' New Chapter program. With this $35M investment, the Council supports the creation and sharing of the arts in communities across Canada.
Ce projet est l'un des 200 projets exceptionnels soutenus par le programme Nouveau chapitre du Conseil des arts du Canada. Avec cet investissement 35 M$, le Conseil des arts appuie la création et le partage des arts au cœur de nos vies et dans l'ensemble du Canada.
SOLO FOR DUET’s Australia tour is generously funded by the Canada Council for the Arts and the Ontario Arts Council.
113 AU ST R ALIA’AU S S CT R LA AL I A’S SSI C C L A AL S S I C M A L U M SI U SC I C & & A ARTS R T S M AG MAG A Z I N E A
ZI N E
GET CLOSER TO THE MUSIC
limelightmagazine.com.au114 Fitters' Workshop Sunday 12 May 6.30 pm BARLENS EVENT HIRE PRESENTS CONCERT 23 TESTAMENT
The last page of Bach's final, unfinished, fugue
Johann Sebastian Bach 1685-1750 Luminescence Chamber Singers Choral: Vor deinen Thron tret ich hiermit, BWV 668 Clarion Contrapunctus XIX from Art of Fugue, BWV 1080 Anna Fraser soprano
Weichet nur, betrübte Schatten from Kantata BWV 202 Chloe Lankshear soprano
Amy Moore soprano INTERVAL Tobias Cole countertenor
Kantata BWV 147 ‘Herz und Mund und Tat und Leben’ Andrew Goodwin tenor Herz und Mund und Tat und Leben Andrew Fysh bass Gebenedeiter Mund! David Greco bass Schäme dich, o Seele nicht Verstockung kann Gewaltige verblenden Bach Akademie Australia Bereite dir, Jesu, noch itzo die Bahn Madeleine Easton violin Wohl mir, daß ich Jesum habe Emma Black oboe Hilf, Jesu, hilf, daß ich auch dich bekenne Richard Fomison trumpet Der höchsten Allmacht Wunderhand James Wannan viola Ich will von Jesu Wundern singen Anton Baba cello Jesus bleibet meine Freude Jonathan Lee organ
directed by Roland Peelman and Korneel Bernolet
This concert is supported by PERONELLE and JIM WINDEYER
115 The end y the middle of July 1750, the 65-year-old The above mentioned chorale was added, BBach, Kantor at the St Thomas Church in presumably to compensate for this, and the Leipzig, was at death’s door. Blind and suffering romantic myth of Bach’s final fugue was born. badly from the consequences of a stroke and The veracity of Bach trying to finish this two failed eye operations, he dictated the fugue on his death bed has long been chorale variation Vor deinen Thron tret ich questioned. Neither is the BACH theme a hiermit (Before Thy Throne I now appear) to countersubject. Rather it is the third subject in his son-in-law. In doing so, he signed off on a a grand architecture that opens with a stately life of dedication to his faith, his family and his progression that recalls the gravity of the art. A second stroke at this late stage became Mother theme, followed by a flowing second debilitating. He died on July 28. subject in quavers, before introducing his own The chorale variation in question was not an name BACH as a third subject. It wasn't the entirely new piece but rather a new version first time Bach played with the letters of his of one of the organ chorales he had set thirty name, but up to this point he had always been years earlier to the words Wenn wir in höchsten careful about doing so inconspicuously, often Nöthen sein (When we are in greatest need). encrypting it by permutating the four notes Thus expanded in the hours of his greatest or hiding them in inner parts. For this final need, the setting develops the notes of the fugue, however, Bach unapologetically states chorale itself as contrapuntal interludes. It the four notes of his own name, setting off explains why the chorale variation written the kind of melodic and harmonic challenge ostensibly for organ has so easily allowed he had long avoided as being either too vocal performances. obvious or perhaps too self-conscious. Such a statement, and above all, such a musically After Bach’s death, his sons took care of the probing, unstable subject begs for resolution. manuscripts, scores and instruments left The return of the mother theme could have behind with a mix of professional care (Carl easily settled things down, but it fails to emerge Philipp Emanuel) and abject carelessness at this moment of greatest need. Was it meant (Wilhelm Friedemann). As C.P.E. Bach secured as a confession of inadequacy, or statement the publication of his father’s Art of Fugue of humility, or simply an admission that his – or including its unfinished final fugue, he wrote God’s – work is never done? Or was it an open over the score: Über dieser Fuge, wo der invitation to future composers to continue at Nahme B A C H im Contrasubject angebracht the point he left off? Many composers have worden, ist der Verfasser gestorben. "Over tried their hand at completing the work, but this fugue, where the name BACH appears on this occasion we will perform the piece as in the countersubject, the composer died." Bach left it: unfinished.
And in the beginning there was joy t the end of this festival, having heard a construct of the mind), craft and invention Amore music by Bach than some of us (singing, playing, improvising, and let’s not might ever consume over an entire year, we forget all that teaching), joy – above all, joy! ought to go back to the things that have drawn The power of music to celebrate life as we know us to Bach in the first place, and the things it, as we dream it, and even as we regret it, is that drew him into a life of music: family (some what drives Bach’s music. That it has found so strong musical DNA flowing through the Bach many incarnations across the world is a sign veins), belonging (his sense of community of its immense inherent creative energy. Two and service, his faith), architecture (sound as of Bach’s most joyous musical statements will
116 bring this festival to an end: the Wedding Cantata When one year later, upon their arrival in Leipzig, BWV 202 and the Cantata BWV 147 written for Bach embarked on his first major Cantata cycle, the feast of the Visitation on July 2, 1723. he knew that any of his earlier material written for Advent would be unusable, since Leipzig We wish we could say that BWV 202, Weichet observed tempus clausum, silent time, over nur, betrübte Schatten, was written especially Advent. Ever the pragmatist, he expanded the for Bach’s own wedding to Anna Magdalena in six movements of the Advent Cantata Herz December 1721. The Cantata’s opening aria that und Mund und Tat und Leben (Heart and Mouth concludes the first half of this concert features and Deed and Life) to ten, by adding recitatives some of Bach’s most sublime writing for solo telling the story of the pregnant Mary visiting her oboe and solo soprano, underpinned by string niece Elizabeth. It made for a splendid Visitation figures that delve deep into the emotional work with spring in its step and joy in its heart. All wellspring of such an occasion. Yet there is no he needed to do was replacing the chorale with evidence of this being the case, and there are two verses of the 1661 hymn Jesu, meiner Seelen plenty of signs that the work emerged in the Wonne (Jesus, my soul's delight), the sixth to earlier part of Bach’s career. But we could be conclude the first part before the sermon, and forgiven for imagining Bach thinking about Anna the seventeenth stanza to bring the work to its Magdalena’s pretty soprano voice as he was end: Jesus bleibet meine Freude, or ’Jesus shall preparing to dispel the final shadows of his loss remain my joy’. and making room for new love. Roland Peelman
From the manuscript of BWV 147, Jesus bleibet meine Freude
117 The Art of Fugue in the course of CIMF 2019
Contrapunctus I Brodsky Quartet – Brodsky Quartet, Thursday May 9, 7.30pm Contrapunctus II Penny Quartet - Bach in Africa, Saturday May 11, 2.30pm Contrapunctus III sonic.art saxophone quartet - A World of Bach, May 3, 7.30pm Contrapunctus IV Penny Quartet - Bach in Africa, Saturday May 11, 2.30pm Contrapunctus V rectus et inversus Quatuor Voce - The Three Bs, Sunday May 5, 6.30pm Contrapunctus VI ‘in stilo francese’ Brodsky Quartet – Brodsky Quartet, Thursday May 9, 7.30pm Contrapunctus VII ‘per augmentationem et dimininutionem’ Bach Akademie Quartet – Bach the Teacher, Friday May 10, 11am Contrapunctus VIII Vyacheslav Gryaznov - Slava’s Piano, Tuesday May 7, 6.30pm Contrapunctus IX Vyacheslav Gryaznov - Slava’s Piano, Tuesday May 7, 6.30pm Contrapunctus X sonic.art saxophone quartet - Bach the Teacher, Friday May 10, 11am Contrapunctus XI Vyacheslav Gryaznov - Slava’s Piano, Tuesday May 7, 6.30pm Contrapunctus XII.a recta Quatuor Voce - The Three Bs, Sunday May 5, 6.30pm Contrapunctus XII.b inversa sonic.art saxophone quartet - A World of Bach, May 3, 7.30pm Contrapunctus XIII SR9 - A World of Bach, May 3 7.30pm Canon per Augmentationem in Contrario Motu Korneel Bernolet – Bach the Teacher, May 10, 1pm Canon alla Ottava Jonathan Lee – Bach the Teacher, May 10, 1pm Canon alla Decima, Contrapunto all Terza Sally Walker and Jason Noble – Magic Garden, May 6, 11.30am Canon alla Duodecima in Contrapunto alla Quinta Edward Neeman - Bach in Africa, May 11, 2.30pm Fuga I – II per due Pianoforti Not performed on this occasion
118 Contrapunctus XIX sonic.art saxophone quartet - Bach in the Central Desert, May 5, 2.30pm Transcribed and completed by Kalevi Aho Contrapunctus XIX Clarion with Bach Akademie Australia - Testament, Sunday May 12, 6.30pm As published by CPE Bach, ‘Fuga a tre sogetti ed a 4 voci’ Bach the Teacher, Friday May 10, 11am with text overlay from chorale Vor deinem Thron tret ich hiermit
The Art of Fugue on Record:
Helmut Walcha (1907-1991) was Tatiana Nikolaeva (1924-1993) was the blind genius who learnt and the winner of the international recorded Bach's entire organ Bach competition in 1950. Her output by memory. His magisterial 1968 recording of the Art of Fugue recording of the Art of Fugue was remains a reference point for all released on vinyl in 1957 pianists.
Gustav Leonhardt (1928-2012) Canadian Brass. The Art of Fugue established his Bach reputation played by brass instruments with a landmark recording of Art of (trombone replaced by Fugue on harpsichord in 1953. In euphonium) was a bold new project 1969 he returned to the work with a for the Canadian group in 1988. better instrument and better sound Many now consider it one of the engineering. ensemble’s greatest achievements.
Glenn Gould (1932-1982) has The Hespèrion XX recording remained one of the most directed by Jordi Savall in 1986 idiosyncratic Bach performers. In uses a variety of viols and wind 1962 he tackled the Art of Fugue – instruments. Arguably the most on organ! beautifully serene version of the work.
119 FESTIVAL ARTISTS
Artistic Director Roland Peelman An acclaimed musician of great versatility, Roland Peelman for his creativity in commissioning new artistic projects was born in Flanders Belgium and has been active in Australia including Kalkadunga Yurdu with didgeridoo artist and over 25 years as a conductor, pianist, artistic director, and composer William Barton. His overview and understanding mentor to composers, singers and musicians alike. Peelman of the music canon is unique. With a repertoire that includes has received numerous accolades for his commitment the major classical works from Bach to Gershwin as well as to the creative arts in Australia and specifically for his 20- a vast oeuvre of early music from Lassus, Monteverdi and year directorship of The Song Company during which the Schütz to Purcell Peelman is Australia’s most innovative ensemble grew into one of Australia’s most outstanding and and versatile musical director. His passion for new music innovative ensembles. Peelman is widely recognised as one has been crucial to an ever-growing repertoire of concert of Australia’s finest musicians receiving the NSW Award for music as well as music theatre. Over the years Peelman has “the most outstanding contribution to Australian Music by an directed numerous recordings and premiere seasons of individual” and named “musician of the year” by the Sydney new operas such as Black River, Fahrenheit 451, The Burrow, Morning Herald’s music critic in 2006. In 2009 Sydney The Sinking of the Rainbow Warrior and Gauguin to name Morning Herald reviewer Peter McCallum named Peelman just a few. He has worked with most orchestras in Australia “The Innovator” praising him as the mastermind behind and continues to develop new projects that aim to change two of Sydney’s “best moments” in music referring to the and re-invigorate the nature of concerts both in form and Tenebrae III dance collaboration to music by Gesualdo and content. In 2015 Roland succeeded Christopher Latham the Festival Licht featuring music by the composer Karlheinz as Artistic Director of the Canberra International Music Stockhausen. Peelman has also been widely recognised Festival.
Composers Jess Green – Composer in residence Jess Green is an Australian musician and composer, van Reyk, Katie Noonan, Hannah Macklin, Clare Bowditch, her primary instrument is electric guitar and voice, born Deborah Conway, Kate Ceberano and many more. She has in Canberra and trained at the ANU (Jazz Guitar) Jess performed on many of Australia’s great stages and festivals established herself on the national scene whilst living in and toured through Europe and Asia. Most recently Jess Sydney, working in a wide variety of styles and settings. performed as part of an all-female band led by Katie Noonan She has recorded for television and dance, composed and for the closing ceremony at the Commonwealth Games. performed for theatre and released several albums under Jess is a sought-after music educator, and has taught at various stage and band names (The Green Septet, The New The Australian Institute of Music, The University of Western Dynamites, Jess Green’s Bright Sparks and Pheno). Her Sydney, The SIMA Young Women’s Jazz Workshops, and has composition and song writing spans instrumental jazz, rock, toured for Musica Viva in Schools for over 10 years. indie pop and experimental music and as a musician she Now based in Canberra she continues to perform nationally, has performed alongside artists such as Jim Conway, The and teaches at ANU, and at the Canberra Institute of catholics, Petulant Frenzy, Nick Wales, Alyx Dennison, Bree Technology. Bree van Reyk – Composer in residence Bree van Reyk is a drummer, percussionist, composer and artists such as Gurrumul, Paul Kelly, the Australian Chamber sound artist who makes highly original, un-conventional and Orchestra, Synergy Percussion, Katie Noonan and Ensemble tradition-challenging performance works. Her music is both Offspring and she has been commissioned by organisations warm-hearted and celebratory as well as being focussed on such as Sydney Festival, Marrugeku, Urban Theatre Projects, issues of equality, and resides in the intersection between Performance Space, Sydney Dance Company, AGNSW, contemporary classical, indie-rock and performance art. GOMA and the MCA. Her performance career includes tours and recordings with
120 Nick Wales – Composer in residence Nick Wales’ visceral, immersive and progressive music is Trolleys, both commissioned for the 2012 London Cultural a hybrid between classical forms, electronic and popular Olympiad. He has scored a number of film and television music. Recent commissions include collaborations with projects including composing for the feature filmAround choreographers Rafael Bonachela for Sydney Dance the Block. While Wales' contemporary dance scores are Company, Marina Mascarelle for Ballet de l'Opéra de Lyon, both challenging and abstract, his pop sensibilities are and visual artist Hayden Fowler for the Adelaide Biennale undeniable. Traversing all genres as a founding member of for Australian Art. Nick has worked with choreographer classical-fusion band CODA, he has also collaborated with Shaun Parker on a number of works including the Helpmann Sarah Blasko for a number of years, on her albums I Awake, nominated score for AM I, the outdoor works Spill and Depth of Field and Eternal Return . William Barton William Barton has been playing didgeridoo for over 20 years. to the World Expo at Shanghai, from the Beijing Olympics He first started to learn the instrument in Mount Isa, far north to the Royal Festival Hall. His compositions include a western Queensland. He has been involved in community 40-minute piece for the Leigh Warren Dancers premiered engagement with audiences from an early at Womadelaide, and the ballet Timeless age. Working with traditional dance groups Dancers written for the European tour of the and fusion/rock jazz bands, orchestras, string Queensland Ballet. William has earned many quartets and mixed ensembles, William has awards as both a performer and a composer. been touring internationally since the age He holds honorary doctorates from Griffith of 15, and first performed as a soloist with a University (2009) and Sydney University professional orchestra at the age of 17. Since (2010), and in 2012 won an ARIA award for best then he has performed and represented classical album with Kalkadungu. Australia all over the world, from Anzac Cove
Michael Dooley Michael Creswell Dooley is an Australian born Latin, reggae, gospel, R&B, country, children’s pianist composer, song writer and producer. songs and world music, his knowledge of He studied classical and jazz piano, and which has been enhanced by living and composition at the Sydney Conservatorium Bree van Reyk performing in the orient, India and the Middle of music. Styles he has composed and East for a number of years. He currently produced in include classical, jazz, pop, Celtic, soft rock, resides with his family in Canberra ACT, Australia. Moya Henderson In 1973, after graduating from the University of Queensland, commissioned composer ever since and has developed Moya Henderson was appointed Resident Composer to a broad and significant body of work, including several the then Australian Opera during its inaugural season at the innovations in the field of instrument design. In September Sydney Opera House. She was awarded a DAAD Scholarship 1983 Moya's work for organ and pre-recorded tape, Sacred and a Travel Grant from the Music Board of the Australian Site, commissioned to celebrate the tenth anniversary of Council for the Arts, and between 1974 and 1976 attended the opening of the Sydney Opera House, was given its first the Cologne Musikhochschule, where she studied music- performance by David Kinsela. In 2002, her opera, Lindy, was theater with Mauricio Kagel and composition with Karlheinz produced by Opera Australia to considerable critical and Stockhausen. In 1974 she attended the Darmstadt Summer popular acclaim. In January, 2018, CIMF presented Sydney’s Courses for Composition and Performance. The short music- Acacia Quartet in the premiere of her Dombrovskis Quartet theater piece, Clearing the Air, written during the Darmstadt at a photographic exhibition: Journey into the Wild, curated sessions, won her the Kranichsteiner Prize for Composition. by the National Library of Australia, which featured iconic The music-theater piece, Stubble, was a highlight of the 1976 photographs of the Tasmanian wilderness by the Latvian Darmstadt Courses. Moya returned to Sydney, Australia, Australian, Peter Dombrovskis. in 1976. She has continued to work as a free-lance and
121 Nicole Lizée Called “brilliantly gifted”, award winning composer and video worldwide to international acclaim. Her commission list artist Nicole Lizée creates new work from an eclectic mix of of over 50 works includes the Kronos Quartet, Carnegie influences including the earliest MTV videos, turntablism, Hall, BBC Proms, and the San Francisco Symphony. www. Hitchcock, and glitch. Nicole’s works are performed nicolelizee.com
Ella Macens Sydney based composer Ella Macens (b. 1991) is a rapidly Orchestra’s Australian Composers’ School 2018-19. Her emerging composer whose music celebrates qualities compositions have won awards, including inclusion in from both popular and classical music styles, and displays ENCORE (2009) and the Frank Hutchens Scholarship for a strong connection to her Latvian heritage. Ella is currently Composition in 2012. In 2017 she was awarded the Fine studying at the Sydney Conservatorium of Music where Music FM Young Composer Award for her first orchestral she was selected to participate in the Conservatorium’s piece FLIGHT. Among her many commissions are pieces inaugural National Women Composers’ Development for the Song Company, Gondwana National Choirs, Sydney Program in 2016-17. This led to intensive collaborations Children's Choir, Sydney Philhamonia Choirs, Sydney and workshops with such musicians and ensembles as the Festival 2018, State Choir LATVIJA, Latvian choir Pernigele, Tasmanian Symphony Orchestra, the Sydney Philharmonia and the XV Latvian Canadian Song and Dance Festival. Ella is Choirs, the Goldner String Quartet and Claire Edwardes. Ella also a proud music educator, teaching composition, music is currently composer in residence with Sydney Children’s theory and aural skills at the University of Sydney and Sydney Choir and is also a participant of the Tasmanian Symphony Conservatorium of Music. John Oswald John Oswald is a Governor General’s (Canada) Media Arts of Fame. His 1989 album plunderphonic is regularly short- Laureate, Ars Electronica and Untitled Arts Award winner, as listed for the Polaris Heritage Prize. well as the first Music inductee into the CBC Alternative Walk David Rokeby David Rokeby is a Toronto artist who works with digital media Governor General’s Award in Visual and Media Arts, a Prix Ars to critically explore their impact on contemporary life. He Electronica Golden Nica for Interactive Art, and a “BAFTA” has exhibited extensively internationally and has received a award. Christopher Sainsbury Dr Christopher Sainsbury is an accomplished composer simple songs to large orchestral works. With flair for melody and a highly experienced music educator. He has made a and the art of orchestration, the Boston Globe reviewed sustained contribution to Australian music as a working his work as “cinematically tonal” and “dotted with vivid composer in both professional and community music orchestral touches”. Dr. Sainsbury lectures at the ANU arenas for many years. His output ranges from sublimely School of Music and is the Festival's cultural advisor. Andrew Schultz Australian composer Andrew Schultz studied at the been presented live and on film around the world. Other Universities of Queensland and Pennsylvania and at major works include Journey to Horseshoe Bend, Song of King's College London and has received many awards, Songs and three symphonies. Recent orchestral works prizes and fellowships. His music, which covers a broad include Sound Lur and Serpent for the Sydney Symphony, range of chamber, orchestral and vocal works, has been Peace and Endling for the Tasmanian Symphony and Maali, performed, recorded and broadcast widely by many Concerto for oboe, clarinet, horn and bassoon for WASO. leading groups and musicians internationally. He has held Andrew has held residencies and academic posts in numerous commissions, including from all the major Australia, Canada, France, the US, and the UK including Australian orchestras. Andrew has written a number of as Head of Composition, GSMD, London. He is currently large-scale works, including three operas (Black River, Professor of Music at UNSW, Sydney. Recent composition Going Into Shadows and The Children’s Bach), which have successes include the Paul Lowin Prize, Schueler Award, Art
122 Music Awards, Australia Council Fellowship, Cité des Arts- Company, and Wirripang Paris residency and the Centenary of Canberra, Gallipoli have released a solo piano and Diggers’ symphony commissions. CDs of his orchestral CD played by Antony Gray. music performed by the Sydney, Queensland and Tasmania The Moravian Philharmonic Symphonies are available on ABC Classics, three volumes has recently released his of chamber music are available on the Tall Poppies labels, Falling Man/Dancing Man and Brisbane Chamber Choir and Kühn Choir of Prague have Symphony No 2 – Ghosts of each released his Magnificat and Nunc dimittis, a disc of Reason for Navona. ensemble vocal music has been released by The Song Andrew Schultz Linda Catlin Smith Linda Catlin Smith has had recent performances at the and at the Principal Sound Festival (London, 2018). The TectonicsFestival in Glasgow (2017), Huddersfield Festival recording label “another timbre” has recently released 2 of 3 (2017, including a concert performed by Eve Egoyan), recordings of her music. Michael Snow Michael Snow started a career as a jazz pianist in 1947. Since recently, the Winnipeg Symphony Orchestra commissioned the 60’s he’s played piano, synthesizer and other instruments his composition, Prophecy, which was premiered by them in free improvisation ensembles, including CCMC of in January 2018. Snow is also a visual artist (painting, photo- Toronto. He has made many recordings. His compositions works, holography, film, video and sculpture). He has made include Hue Chroma Tint (1999) commissioned by the several public artworks in Toronto such as Flight Stop (Eaton Burdocks ensemble, featuring Eve Egoyan as pianist. Most Centre) and The Audience (Rogers Centre).
Ensembles
Bach Akademie Australia Bach Akademie Australia is Australia's newest dedicated world's leading Bach exponents, Bach Akademie Australia Bach ensemble. It is the brainchild of world-renowned Bach gives Australian audiences the very best experience of expert Madeleine Easton. Bach Akademie Australia’s raison J.S. Bach's music and put Australia on the map as a place of d’être is to create a natural extension of her work over the international repute in the performance of J.S Bach. Bach last 17 years in Europe. It combines cutting edge scholarship, Akademie Australia launched in April 2017 with a sold out imaginative musicianship and playing of dazzling virtuosity. performance in Sydney at the historic Garrison Church, The ensemble's focus on mastery of performance, followed by two sold out performances for the Canberra authenticity and originality of interpretation is bringing the International Music Festival to rave reviews in Limelight music of J.S Bach to life for Australian audiences. Bach Magazine and Canberra City News, and another sold out Akademie is forming close links with academic institutions performance at Christ Church St Laurence, Sydney to mark around Australia to establish an atmosphere of learning and the 500th anniversary of the Reformation. education around the ensemble. With direct access to the
Brodsky Quartet Gina McCormack violin, Ian Belton violin, Paul Cassidy viola, Jacqueline Thomas cello Since forming in 1972, the Brodsky Quartet have performed South Africa and Europe, as well as in the UK, where the over 3,000 concerts on the major stages of the world quartet is based. The quartet are also regularly recorded and have released more than 60 recordings. Throughout for television and radio with their performances broadcast their career of over 45 years, the Brodsky Quartet have worldwide. Over the years, the Brodsky Quartet have enjoyed a busy international performing schedule, and undertaken numerous performances of the complete have extensively toured the major festivals and venues cycles of quartets by Schubert, Beethoven, Tchaikovsky, throughout Australasia, North and South America, Asia, Britten, Schoenberg, Zemlinsky, Webern and Bartok. It is,
123 however, the complete Shostakovich cycle that has now commissioned and championed many of the world’s most become synonymous with their name: their 2012 London respected composers. The quartet took their name from performance of the cycle gained them the prestigious title the great Russian violinist Adolf Brodsky, the dedicatee of ‘Artistic Associate’ at London’s Kings Place and led to a Tchaikovsky's violin concerto and a passionate chamber second recording of the cycle in October 2016. As well as musician. Gina McCormack plays a 1749 Alessandro Gagliano partnering many top classical artists for their performances violin; Ian Belton’s violin is by Giovanni Paolo Maggini, c.1615; and recordings, the quartet have made musical history Paul Cassidy plays on La Delfina viola, c.1720, courtesy of with ground-breaking collaborations with some of the Sra. Delfina Entrecanales; and Jacqueline Thomas’s cello is world’s leading artists across many genres and have by Thomas Perry of Dublin, 1785.
Canberra Youth Orchestra The Canberra Youth Orchestra (CYO) is the premier Morrison and Dale Barltrop. CYO performs regularly in youth symphony orchestra in the ACT, bringing together Canberra with their annual Llewellyn Hall concert series, the region’s finest young musicians for over 50 years. as well as at other concerts including at the High Court of Conducted by Canberran, Leonard Weiss, the CYO Australia, the Canberra International Music Festival, and at showcases a diverse range of repertoire and has performed Music For Canberra community events. concerts featuring world-class soloists such as James
Los Pitutos Alvaro Zambrano piano, vocals, guitar, Matías Piñeira horn, trumpet, vocal, composition, Pablo Camus guitar, vocals, Tomás Peralta double bass, vocals, Cristian Betancourt percussion, vocals Los Pitutos is a Chilean-Colombian band, founded in Berlin (Berlin), Not Only Jazz Café (Berlin), Oui, Madame (Berlin) in 2015, which specialises in adaptations of popular Boleros, and at the Secrets Festival 2015, Los Pitutos appeared in Cumbias, Joropos and valses and which mixes them with own 2016 at the Berlin Philharmonic, as the supporting act to compositions – leading to a unique mixture which captivates Munich based band Blechschaden, and subsequently at the its audience and brings it toLatin America on a one way ticket. Prinzregententheater in Munich. They have also appeared Founded by four classically trained young Chilean musicians on the Bavarian National Radio (Bayerischer Rundfunk) in and one Colombian musician, who all came to Germany to the show Z'am rocken, at the Kunstfabrik Schlot, one of study and to work, Los Pitutos resurrects a bygone world, Berlin's leading Jazz places, in a festival called Lieben Sie full of longing, warm Latin-American nights and the charm Tango? (Do you love Tango?), at the Welthaus Bielefeld and of a slower age. After successful concerts at Sinnesfreude at the Schleswig Holstein Music Festival. Quatuor Voce Cécile Roubin violin, Sarah Dayan violin, Guillaume Becker viola, Lydia Shelley cello Since its formation in 2004, Quatuor Voce has established performing contemporary music by living composers as well itself as one of the best quartets of its generation, receiving as crossover programmes with renowned pop singers and the highest awards at international competitions including choreographers such as Thomas Lebrun, Ibrahim Maalouf those of Geneva, Cremona, Vienna, Bordeaux, Graz, and Kyrie Kristmanson. London and Reggio Emilia. During 2013/14 the quartet was The Quartet records exclusively for the ALPHA Classics selected as ECHO Rising Stars performing in halls such label. Their next release, 'Itinéraire’, will be issued in late as Het Concertgebouw Amsterdam, Auditori Barcelona, September 2018, and is inspired by the folklore traditions of Festspielhaus Baden-Baden, Philharmonie Cologne, Palace Bartók and Kodály. This season, the quartet will undertake its of the Arts in Budapest, Barbican Centre London and debut tour of the US in addition to extensive tours of Japan, Philharmonie Paris. Beside the core quartet repertoire, China and Australia. curiosity enables the group to diversify its activities, Luminescence Chamber Singers Luminescence Chamber Singers is a virtuosic chamber has quickly gained a reputation for presenting exciting and music ensemble comprised of eight young vocalists. Since excellent singing. The ensemble is under the collaborative the ensemble’s earliest iteration in 2013, Luminescence artistic direction of its singers and performs a wide range
124 of repertoire from the Renaissance to the 21st century. In musicologist and conductor Bengt-Olov Palmqvist. In 2014, Luminescence recorded a number of tracks for Sally addition to their own concert seasons, Luminescence Greenaway’s album Aubade & Nocturne, and in 2015 they performs regularly in local concert series in venues such as performed with ARIA Award-winning pianist and composer the High Court, Parliament House and Wesley Music Centre, Sally Whitwell. In 2016, Luminescence toured New South and delivers a variety of workshops to school and community Wales with acclaimed guest conductor and composer choirs and is frequently engaged for collaborative projects Gordon Hamilton, performed with sopranos Louise Page and recordings. and Louise Keast, and worked extensively with Swedish
Luminescence Children's Choir The Luminescence Children's Choir is a treble choir for 2016. Over two years, Luminescence Children's Choir have Canberra-based musicians aged 7-17. Conducted by AJ performed at national institutions such Parliament House America, the Choir is dedicated to excellence in performance and appear regularly at the National Portrait Gallery and the and offers young singers holistic and high quality musical High Court. The choir has also participated in multiple major experiences and education. The Luminescence Children's performances with the Luminescence Chamber Singers Choir came together for performances in September and and worked alongside acclaimed guest conductors such as December 2015, and became a permanent ensemble in July Gordon Hamilton, Bengt-Olov Palmqvist and Dan Walker. Trio SR9 Paul Changarnier, Nicolas Cousin, Alexandre Esperet percussion Trio SR9 was created in 2010 at the National Conservatory danse?" (2018) under the label "Naïve". Trio SR9 promotes of Music and Dance of Lyon, France. In 2012, they won a creative vision of percussion with transcriptions for 3 three prizes at the International Music Competition in marimbas of emblematic scores (Bach, Mendelssohn, Ravel, Luxembourg: the First Prize, the Press Prize and the Public Stravinsky). It also participates actively in the evolution Prize. SR9 Trio was invited to perform at the Pasic 2017 of the contemporary repertoire of percussion through in Indianapolis (USA). Trio SR9 has given more than 150 commissioning of works from young composers such as concerts in Europe, Canada and USA. The Trio has released François Tashdjian, Florent Caron-Darras and Balint Karosi. two CDs: " Bach au marimba " (2015) and "Alors, on
Penny Quartet Amy Brookman violin, Madeleine Jevons violin, Anthony Chataway viola, Jack Ward cello An exciting new addition to Australian chamber music tours across Australia and made their international debut making, the Penny Quartet are rapidly gaining a reputation as as full scholarship holders at the St. Lawrence String Quartet a fresh interpretative voice with drive and passion. Founded seminar at Stanford, CA. Penny Quartet regularly collaborate in early 2014, the group brings a vibrant approach to their and record with various composers and contemporary performances across the country. In their inaugural year, musicians, both independently and as Festival artists. They they were nominated for the Freedman Fellowship award, have been part of the “Local Heroes” subscription series at and were the recipients of the John and Rosemary Macleod the Melbourne Recital Centre since late 2017 and are 2018 Travelling Fellowship and winners of the Australian National recipients of the Contemporary Masters Award. Penny Academy of Music Chamber Music Competition. Since Quartet are also 2019 Featured Artists with Musica Viva then, the Penny Quartet have been ensemble-in-residence Australia's regional touring program. at the Four Winds Festival, presented independent recital
Band of the Royal Military College – Duntroon Major Darren Cole Officer commanding / Music director Formed as an official Army unit in 1954, the Band of the Royal that provides musical support to Defence establishments Military College is equally at home on the parade ground in the ACT including the Corps of Staff Cadets at Duntroon. or in the concert hall. The Band is a 55 piece professional The Band performs music for all types of ceremonial, social symphonic wind ensemble and ceremonial marching band and cultural activities as well as being the official band for all
125 Regal, Vice Regal, Diplomatic and State functions held in the loyal following of lovers of fine band music and quality National Capital. In addition to its ceremonial role, the Band entertainment. The band is currently commanded by Major is a prominent participant in the musical life of Canberra. Darren Cole, and the Band Sergeant Major is Warrant Officer Its long running and popular concert series in association Class One Gary Caira. with the Canberra Theatre, 'Music at Midday' enjoys a sonic.art saxophone quartet Adrian Tully soprano saxophone, Alexander Doroshkevich alto saxophone, Claudia Meures tenor saxophone, Annegret Tully baritone saxophone “One can imagine how happy a composer is, when their work, Schleswig-Holstein Festival, Festival of Mexico and the their dream, is so perfectly carried out.” Sofia Gubaidulina. Festival Symphonique Algiers. Among recent highlights are The sonic.art saxophone quartet is a chamber music the performances of William Bolcom’s ‘Concerto grosso’ ensemble with an international flair whose current members for saxophone quartet and orchestra with the Nürnberger hail from Belarus, Australia and Germany. Sonic.art was Symphoniker and the Sinfonieorchester Aachen. The latest founded in 2005 and has since made a name for itself in of their 3 CDs ‘Transformation’ includes works by Glazunov, various line-ups thanks to prestigious prizes and awards at Shostakovich, a debut recording of Gubaidulina and national and international competitions in Poland, Germany collaborations with Swedish trombonist Christian Lindberg and Switzerland. Performances at renowned festivals and soprano Evelina Dobračeva. have included Warsaw Autumn, Mosel Musikfestival,
Singers
Richard Butler tenor A 2013 Gramophone award-winning artist as principal soloist Bach's St Matthew Passion at Elder Hall, Adelaide. Last year for the Gabrieli Consort ( A New Venetian Coronation, 1595), Richard sang Messiah for Trinity College, Melbourne at MRC, English tenor Richard Butler now lives in Sydney. Richard Handel's Judas Maccabaeus at St George's Cathedral, Perth, made his debut with WASO, MSO and ASO in 2014 singing St John Passion arias for WASO, and St Matthew Passion for Handel's Messiah. Richard was also soloist for the ABO's 25th TSO, Hobart (Evangelist and arias). Recent projects have anniversary series, performed in the Canberra International included further performances of Bach St John Passion, Music Festival singing Bach cantatas and was evangelist and Bach cantatas with the newly launched Bach Akademie aria soloist in Bach's St John Passion at St James', Sydney with Australia and a concert series with the Song Company. Most the Australian Haydn Ensemble. At UWA, Richard was the recently, Richard sang the title role in Britten St Nicolas for tenor soloist in Britten's War Requiem. He also sang the role Sydney Chamber Choir and Brett Weymark. Richard is also of Pilate in Pärt's Passio for the Adelaide Chamber Singers principal lay-clerk at St Mary's Cathedral, Sydney. as well as for Song Company in Sydney and was evangelist in
Michael Cherepinskiy treble 12-year-old Michael, winner of several National Eisteddfods Also he recently started studying on the "King of Instruments“ and other music competitions, is studying piano with Natalia — the organ — with Jonathan Lee and Christopher Wrench. Tkachenko, currently preparing for his Grade 6 AMEB exam. Michael is an avid tennis player, swimmer and a footballer.
Natalie Christie Peluso soprano Melbourne-born Natalie Christie Peluso captivates Brisbane Festival; Ottavia/Drusilla Monteverdi's Coronation audiences and critics alike with her dynamic, effervescent of Poppea Pinchgut Opera; Adele Die Fledermaus Opera stage presence and an inviting lyric soprano voice that Queensland. Recent concert appearances include Four Last has been described by London critics as “full of youthful, Songs Strauss, Pieces of 9/11 Jake Heggy, Bach Cantata 32 delicious beauty” and “electrifying freshness.” Recent opera Australian Festival of Chamber Music; Bach B Minor Mass, appearances include Hanna The Merry Widow, Rose Maybud Mahler Symphony No. 4, Handel Messiah , all with Queensland Ruddigore, Opera Queensland; Niece 2 Peter Grimes, Symphony Orchestra. Previous opera performances include
126 Sr Constance The Carmelites; Sophie Der Rosenkavalier; Die Fledermaus; and Marzelline Leonora; Welsh National Gilda Rigoletto; Eurydice Orphée et Eurydice; Pamina Die Opera; Zerlina Don Giovanni Royal Opera House; Covent Zauberflöte; Adina L’elisir d’amore; Susanna Le nozze di Garden; Soprano Bach St. John Passion English National Figaro; Zerlina Don Giovanni; Despina Cosi Fan Tutte; Adele Opera; Susanna Mozart Le nozze di Figaro Opera Australia.
Tobias Cole countertenor Tobias Cole is an award winning singer, choral conductor October presented The Vow, an adaptation by Tobias of and artistic director who is driven by a passion to create Handel’s Jephtha at the Canberra Playhouse. In 2017 Tobias’ engaging experiences for performers and audiences. In engagements included Alana Valentine’s Cold Light with The 2016, with support from ArtsACT, the Australia Council Street Theatre Company, a return to the Song Company and and Creative Partnerships Australia, he established his the Canberra International Music Festival, and a production own opera company, Handel In The Theatre, which in of Handel's Esther for Handel In The Theatre.
Anna Fraser soprano Anna Fraser has gained a reputation as a versatile soprano Choirs; Sydney Symphony Orchestra; Ironwood; The specialising predominantly in the interpretation of early Acacia Quartet, Ensemble Offspring; Halcyon; Taikoz; and contemporary repertoire. As a permanent ensemble Bach Akadamie Australia, Australian Haydn Ensemble, member of the Song Company since Salut! Baroque, Sydney Consort and 2007, Anna has had the pleasure of Thoroughbass. Contemporary music performing in a myriad of traditional highlights featured Anna as lead vocal and exploratory programming expertly soloist in Berio’s Laborintus II (Sydney demonstrating the versatility and Festival) with iconic front man Mike virtuosity of a cappella singing. Anna Patton. Anna has collaborated with performs extensively with a number international ensembles such as of Sydney's professional ensembles period specialists The Wallfisch Anna Fraser including Pinchgut Opera (since 2004 Band (Bach Unwrapped cantata with notable roles in L'Orfeo, Dardanus, L’Ormindo, Castor et programmes at Kings Place, London) and the New Zealand Pollux) and Cantillation; Sydney Chamber Opera (Dusapin’s String Quartet (Adam Chamber Music Festival, NZ; Canberra Passion, Finsterer’s Biographica); Sydney Philharmonia International Music Festival).
Hannah Fraser mezzo-soprano Following her graduation in 2013 from the Sydney and Richard Bonynge AC, CBE, she was chosen to perform Conservatorium of Music, mezzo-soprano Hannah Fraser Stravinsky’s Three Songs from William Shakespeare and the took up a position with Song Company, Australia’s most roles of Berta (Il barbiere di Siviglia, Rossini) and Angelina prestigious vocal group. After 3 years performing alongside (La Cenerentola, Rossini) as part of the Festival della many exceptional musicians, both as a soloist and through valle d’Itria. On the concert platform, some of the major her continuing experience with this ensemble, Hannah works Hannah has performed include: Hildegard's Ordo moved to Italy, and in 2017 made her operatic debut in Virtutum, Orazio Vecchi's A Night in Siena, Demantius's St Austria and the Czech Republic, performing the role of John Passion, Monteverdi's Missa in illo tempore, Handel's Cherubino in Mozart’s Le Nozze di Figaro. In 2018 she Messiah and Saul, Bach’s B Minor Mass, Magnificat & St was selected to join the Academy of Belcanto “Rodolfo John Passion, Girolamo Abo’s Stabat Mater, Haydn's Seven Celletti” program. Here she studied the art of Belcanto Last Words, Mozart’s Requiem, Fauré’s Requiem, singing with many of Italy's most respected coaches and Mendelssohn's Elijah, Schumann's Requiem für Mignon, directors. Following her masterclasses with Fabio Luisi Duruflé’s Requiem and Berio's Cries of London.
Andrew Fysh oam bass Originally from Hobart, where he began his singing career member of Melbourne’s Ensemble Gombert under John over forty years ago as a treble at St David’s Cathedral, O’Donnell. He has joined the Ensemble for its four overseas Andrew Fysh has considerable experience as both chorister concert tours, most recently to Europe in 2015. Andrew has and soloist throughout Australia. His particular interest lies in appeared as a guest artist with the The Song Company on early music, nurtured through fourteen years as a permanent multiple occasions in both concert and recording. The 1996 127 world- premiere recording of Schütz Der Schwanengesang Berlioz L’enfance du Christ (Llewellyn Choir, Canberra) and recorded in the Sydney Opera House concert hall received Canberra Choral Society's performances of Messiah in 2015 Soundscapes magazine’s Editor's Choice award. Solo and Bach St Matthew Passion in 2018. Andrew was bass engagements have included Bach St John Passion (St Mary’s soloist for the Canberra Bach Ensemble’s cantata concert Cathedral and St James’ Church, Sydney), Mozart Requiem series in 2016–17, culminating in two performances of the (Festival of Voices, Hobart, and St James’ Church, Sydney), solo cantata Ich habe genug (Cantata No.82).
Andrew Goodwin tenor Tenor Andrew Goodwin has appeared with orchestras and Graduate Choir (Saint Saëns Requiem) and the Auckland opera companies in Europe, the UK, Asia and Australia, Philharmonia Orchestra (Handel Ode for St. Cecilia’s Day). including the Bolshoi Opera, Gran Theatre Liceu Barcelona, In 2018 Andrew made his role and house debut as Nadir in Teatro Real Madrid, La Scala Milan and Opera Australia. The Pearlfishers for State Opera of South Australia. He also On the concert platform he has toured with the St returned to Pinchgut Opera in the title role of Artaxerses. Petersburg Philharmonic Orchestra with Maestro Concert performances included a return to Melbourne Temirkanov, performed with the Moscow Chamber Symphony Orchestra for Berlioz L’enfance du Christ and Orchestra, and has given recitals with pianist Daniel de Messiah, to Sydney Symphony Orchestra (Brett Dean’s Borah at the Wigmore Hall, and at the Oxford Lieder, Port oratorio The Last Days of Socrates), Sydney Philharmonia for Fairy, Huntington and Canberra International Music Festivals. Bach B Minor Mass, Melbourne Bach Choir (Mozart Requiem In 2017 Andrew appeared with the Melbourne Symphony and Bach Cantata), and to Melbourne Intervarsity Choral Orchestra (Mozart Requiem), Sydney Philharmonia Festival (Elgar’s The Light of Light). With his regular duo Choirs (Dream of Gerontius and Messiah), Melbourne partner Daniel de Borah, Andrew has recorded Schubert's Bach Choir (St John Passion), Sydney Chamber Opera Die Schöne Müllerin and Winterreise for ABC Classic FM. (Biographica and The Rape of Lucretia), Sydney University
David Greco baritone International Australian born baritone David Greco has Messiah, Bach’s Matthäus-Passion and Messiah with Sydney been engaged by some of the world's most exceptional Philharmonia Choirs, the role of Seneca in Monteverdi’s ensembles and festivals, including Festival Aix-en Provence, L’incoronazione di Poppea for Pinchgut Opera. David also Glyndebourne Festival Opera, The Academy of Ancient made his role debut in Monteverdi’s L’Orfeo in Melbourne Music under Richard Egarr and Amsterdam Baroque last year, under Erin Helyard. 2018 included engagements Orchestra under Ton Koopman. David was a bass Lay with Pinchgut Opera/Handel’s Athalia, a program with the Clark in Westminster Abbey Choir, and in 2014 was the first Australian Haydn Ensemble featuring the orchestrated Australian appointed a position with the Sistine Chapel songs of Schubert, and concerts with Latitude 37. David has Choir in the Vatican, Rome. David regularly appears as a an impressive catalogue of solo recordings spread across a soloist with some of Australia’s finest ensembles, including variety of recording labels, including the recently released the Australian Chamber Orchestra, Pinchgut Opera and ‘Poems of Love & War’, featuring arias by New Zealand Australian Haydn Ensemble. In 2016 David made his debut composer Jack Body on the Naxos Label. 2018 saw the as a principal artist with Opera Australia in The Love of release of David’s solo artist recording with ABC Classics Three Oranges and The Eighth Wonder, and also with the label of Schubert’s Winterreise featuring period fortepiano Sydney Symphony. In 2017 David appeared as a soloist for with Erin Helyard. the Australian Brandenburg Orchestra’s tour of Handel’s
Anna Khan soprano Young soprano Anna Khan is completing her final year of for a Canberra Area Theatre award for her role as ‘Grace’ high school while completing her AMus in classical voice in the musical Annie in 2017. Anna is a budding songwriter under the teaching of Helen Swan. She has has previously in her spare time who loves to perform and song whenever held lead positions in school musicals, being nominated possible.
128 Jeremy Kleeman bass-baritone Jeremy Kleeman is a graduate of Victorian Opera's in Sweeney Todd, and Mother in Kurt Weill's Seven Deadly Developing Artist Program, and has a Master of Music (Opera Sins, St. Matthew Passion with both Newcastle University Performance) and Bachelor of Music from the Melbourne Choir and Melbourne Bach Choir, Toby Raven in the world Conservatorium of Music. In 2017 Jeremy made his company premiere season of Cloudstreet (George Palmer) for State debuts with Sydney Chamber Opera as Collatinus in The Opera of South Australia and the title role in The Marriage Rape of Lucretia and with Pinchgut Opera in The Coronation of Figaro with Opera Australia Touring. Jeremy’s 2018 of Poppea. He returned to Victorian Opera as Badger and engagements included Walter Furst in William Tell, Albert in Parson in The Cunning Little Vixen and to the Melbourne The Magic Pudding and Collatinus in The Rape of Lucretia Bach Choir for St John Passion and the DurufléRequiem , at the Dark MoFo Festival for Victorian Opera, Nielson the latter on a European tour. Other recent engagements Symphony No.3 with Melbourne Symphony Orchestra, and and career highlights include his Brisbane Baroque Festival Second Elder (Susanna, Handel) for Handel In The Theatre, debut as Teobaldo in Handel's Faramondo, appearances Canberra. with Victorian Opera as Lord Valton in I puritani, Jonas Fogg
Susannah Lawergren soprano Soprano Susannah Lawergren performs both as a specialist International Music Festival. As a solo recitalist, recent ensemble member and soloist, bridging art song, early music, performances have included the spare programme, Songs contemporary music, oratorio and operatic repertoire. She of Solitude for Art Song Canberra with pianist Benjamin has performed with some of the foremost musicians and Burton, and two concerts of song cycles for soprano and ensembles in Australia, including Bach Akademie Australia, chamber ensemble in the Sydney Opera House’s Utzon Ensemble Offspring, Joseph Tawadros, Tobias Cole, Room, all newly written by four emerging composers Cantillation, ACO, SSO, MSO and the Australia Ensemble and performed with new ensembles the Kasba Trio and as well as international artists like the Wallfisch Ensemble, Hourglass Ensemble. Forma Antiqva, Simone Vallerotonda and Nigel North. This year she will appear in an opera by Kaija Saariaho in the As a core member of the Song Company since 2011, she has Sydney Festival with Sydney Chamber Opera, and mid-year performed a remarkably diverse range of vocal ensemble will collaborate with pianist Vatche Jambazian, performing music in performances around the country, is regularly the devastating Winterreise by Schubert, rarely if ever sung broadcast on ABC Classic FM and has appeared on many in Australia by a soprano. Also in June, she will sing with albums, the most recent being In Illo Tempore with Hyperion acclaimed UK group Voces 8, adding with Amy Moore a 9th Records. She has performed at many of the major festivals in and 10th voice to the group for a chamber version of Bach’s Australia, last year appearing in Brett Dean’s operatic smash glorious B Minor Mass at Melbourne’s Australian National hit Hamlet at the Adelaide Festival and singing Bach cantatas Academy of Music. with the Bach Akademie Australia at her eighth Canberra
Amy Moore soprano Amy Moore moved to Australia from the UK in 2015. An and Australian Baroque Brass. As a member of EXAUDI Vocal accomplished soloist and ensemble singer, Amy enjoys a Ensemble, Amy performed countless premieres across broad repertoire, with a focus on Baroque and contemporary Europe, particularly avant garde music and often using music. Amy performed solo radio broadcasts with the extended vocal techniques. She was a member of Norway’s Gabrieli Consort, OAE, and the RTÉ Orchestra. In concert Edvard Grieg Kor from 2012-14, performing regularly with Amy has appeared with the Bochumer Symphoniker, Irish Bergen Nasjonale Opera, as well as taking the role of Iseut Baroque Orchestra, Hanover Band, London Contemporary in Frank Martin’s Le Vin Herbe. Amy worked with virtually all Orchestra, and Ensemble Intercontemporain. In Australia the leading UK ensembles, including Tenebrae, Gallicantus, Amy has performed solos with Melbourne Symphony The Dunedin Consort, Arcangelo, Early Opera Company, Orchestra, Australian Brandenburg Orchestra, Bach The BBC Singers, The Tallis Scholars, Polyphony and The Akademie Australia, The Choir of St James King Street, English Concert. She performs with The Song Company, Victoria Chorale Melbourne, Trinity College Melbourne, The Bach Akademie Australia, Pinchgut, The Choir of St James Australian Bach Society, Willoughby Symphony Orchestra, King Street, Brandenburg Choir and Cantillation.
129 Instrumentalists
Tommie Andersson lute/guitar Tommie Andersson, born in Bodafors, Sweden and based He is a founding member and principal player of the in Sydney since 1984 is regarded as Australia’s leading Australian Brandenburg Orchestra and co-directs specialist in lutes and early guitars. He has toured extensively (with Marshall McGuire) the harp/theorbo consort in Sweden and has given performances and master classes Ludovico’s Band. As a recitalist he has performed in all in Scandinavia, Western Europe, Malaysia, Singapore the major Australian capital cities and festivals and he and Japan including tours of South America and Asia. gives regular concerts and live broadcasts for the ABC. Tommie Andersson is highly sought after both as a soloist Tommie Andersson appears on more than 50 discs including and as a continuo player and performs regularly with the a solo CD of baroque lute and guitar music released on Australian Chamber Orchestra, Opera Australia, Sydney the Swedish label Musica Rediviva. He lectures in Lute and Philharmonia, the Song Company, Pinchgut Opera, the Early Guitar at the Sydney Conservatorium of Music and is Orchestra of the Antipodes, Ensemble Battistin, Sydney frequently approached by Universities and Conservatoriums Chamber Choir and The Marais Project amongst others. around the country to teach and perform.
Sam Anning double bass Sam Anning is an internationally sought-after double bassist, National Jazz Award, and the 2008 Bell Award for Young Jazz originally from Fremantle, WA. He has performed with many Musician of the Year, 2009 ARIA Award nomination for ‘Best international jazz masters including Joe Lovano, Kenny Jazz Album. Anning has become an indispensable fixture of Werner, Ari Hoenig, George Garzone, Gilad Hekselman, the jazz scene wherever he has lived, first in his native Perth Greg Osby, and Charlie Haden, as well as leading Australians where he studied at WAAPA, then in Melbourne, and finally in such as Allan Browne, Joe Chindamo, Aaron Choulai, Paul New York City, where he moved to take up a scholarship in the Grabowsky, and Jamie Oehlers. He also leads and composes Masters of Music program at the Manhattan School of Music. for his own ensembles. His accolades include 2010 Bell Now based in Melbourne again, he tours internationally to Award for Classic Jazz Album of the Year (‘Homage’- Sam jazz festivals including Montreal, Vancouver, Detroit, Jazz a Anning, Marc Hannaford, Allan Browne-Jazzhead), the 2015 Vienne, Copenhagen, and many more.
Anton Baba cello Anton Baba has recently returned to Australia after the Australian Romantic and Classical Orchestra. Anton living and working in Europe for the past 11 years, and has brings a wealth of experience and expertise through working quickly established himself as an in-demand artist, soloist with some of the world’s leading artists and researchers and educator. He has appeared as principal cellist and in the field of historically informed performance practice, soloist with the Orchestra of the Antipodes (Pinchgut and is passionate about introducing students and young Opera), Australian Haydn Ensemble, Bach Akademie performers to these practices. Anton plays a Peter Elias Australia, Adelaide Baroque, and is a regular member of cello made in Aigle, Switzerland, 2000, after Stradivarius.
William Barton didgeridoo William Barton has been playing didgeridoo for over 20 internationally since the age of 15. He has been involved with years. He first started to learn the instrument in Mount Isa, community engagement with audiences from an early age. far north western Queensland. Working with traditional William is a 2012 ARIA award winner for best classical album dance groups and fusion/rock jazz bands, orchestras, string Kalkadungu. quartets and mixed ensembles, William has been touring
Korneel Bernolet harpsichord Conductor-harpsichordist Korneel Bernolet (°1989) is repertoires on historical instruments. He is regularly invited one of the most versatile young talents of the early music as musical assistant to Christophe Rousset and was assistant scene today. He performs worldwide as a recital soloist and conductor for Anima Eterna Brugge and Jos van Immerseel ensemble player, conducts his own Apotheosis Orchestra, between 2015 and 2018, ending with a highly praised guest- which performs the Baroque through the high Romantic conductorship with Beethoven's 9th Symphony in Bruges
130 and Frankfurt with Collegium Vocale Ghent. He studied with Beethoven 9th Symphony concerts in Bruges and Frankfurt Paul Clement, Ewald Demeyere, Gustav Leonhardt and with Anima Eterna Bruges and Collegium Vocale Ghent. Christophe Rousset. Korneel made his debut at the age of 19 He made an impressive debut as conductor with Flanders as a continuo player with Sigiswald Kuijken's La Petite Bande, Symphony Orchestra in operatic music by Mozart and was named 'Young Musician of the Year' in 2014 by the Belgian Rossini and appeared as a duo with Christophe Rousset Music Press Association, and two years later was appointed at Musikfestspiele Potsdam. He conducted Rameau's Les the new Professor of Harpsichord at the Royal Conservatoire Indes Galantes for Muziektheater Transparant and will be of Antwerp, where he teaches on the famous Dulcken 1747 playing several recitals in Antwerp with a.o. recorder player harpsichord at Museum Vleeshuis. He also teaches and Dimos de Beun or tenor Guy De Mey. A first orchestral CD will conducts at the International Opera Academy Ghent and be recorded: Pygmalion by both Rameau and Benda, with is pursuing a PhD Degree at the Antwerp University. In 2018 Apotheosis Orchestra, to be released in 2019. he conducted a series of live-streamed press-acclaimed
Emma Black oboe Emma Black’s musical studies commenced at the Victorian Orchester der Opernhaus Zurich with conductors such College of theArts in Melbourne before relocating to as Nicholas Harnoncourt, Nello Santi and Franz Weiser- Europe where she studied with Heinz Holliger at the Musik Möst. Emma Black now plays and records regularly with Hochschule Freiburg and with Maurice Bourgue at the leading period ensembles in Europe, including the Balthasar Conservatoire de Genève. She is currently professor for Neumann Ensemble, the Wiener Akademie and Le Concert oboe at the Kunstuniversität Graz. Her strong interest in de la Loge in Paris. As a soloist, she performs regularly with early music and study of the historical oboe followed her the Wiener Akademie , most recently performing Mozart and move to Zurich in 1993 where she began playing with the Haydn oboe concertos in the Vienna Musikverein.
Lansana Camara kora Lansana (Sana) Camara started playing music at the age of has been involved with various musical projects, including: 10. He began with the balafon (African wooden marimba) Balabajal, a three-piece traditional African music ensemble; which he studied and played for 20 years. Sana’s second Tribalious, an African contempory percussion ensemble; instrument is the djembe (African hand drum) which he Tibet to Timbuktu, a fusion of Tibetan, African, Indian and started two years later. Sana joined the percussion and Australian music; and Adoona, a four-piece contemporary dance ensemble Percussion de Guinée Junior, and stayed group highlighting the Kora. He has also been hired to do with them for five years. While playing with the group, he was session work with various projects and artists. Festivals offered a position in Percussion de Boka, led by Ibrahima include Woodford folk festival, Cairns African festival, Sydney Camara (Boka), regarded as one of Guinea’s best djembe Festival, Townsville Multicultural festival, and Townsville folas. Sana also formed his own percussion ensemble, African festival. Sana has also been involved in corporate while teaching percussion to children and other age groups. drumming workshops, teaching children percussion at Sana’s third instrument is the kora (22-string African harp), schools with Hello Africa, running workshops in the Brisbane which he has now been playing for ten years. In 2005 Sana area, and on tour teaching at schools in Tamworth, Coffs moved to Australia, where now lives permanently. Here he Harbor and Newcastle.
Madeleine Easton violin / director, Bach Akademie Australia The Australian violinist Madeleine Easton is an established Lisbon, The English Baroque Soloists under Sir John Eliot star on the international stage known for her versatility Gardiner, the Australian Brandenburg Orchestra, The Kings and expertise in the world of violin playing, who is forging Consort, The Gabrieli Consort, the Musicians of the Globe, a career as a director and concert master. She performs The Independent Opera Company, London Orchestra da at the highest level both in Europe and in Australia, Camera, Orchestra Nova, the Guildford Philharmonic, Bath appearing as both soloist, concertmaster and director Philharmonia, Southern Sinfonia, Florilegium, the Melbourne of some of the worlds most respected ensembles and Symphony Orchestra and the Northern Ballet Orchestra of orchestras. Engagements include the Orquesta Sinfonica England. She was appointed concertmaster of The Hanover de Madrid under the batons of Thomas Hengelbrock and Band in 2006 and continues to perform with them as both Paul McCreesh, the Gulbenkian Foundation Orchestra of leader, director and soloist. Madeleine also performs with 131 the London Philharmonic Orchestra, the City of Birmingham the first year String Orchestra and the Modern Instrument Symphony, Orchestra of the Age of Enlightenment, the Period Orchestra. Madeleine is proud to be part of the Academy of Ancient Music, and the Orchestra Revolutionaire internationally acclaimed Australian World Orchestra. She et Romantique. Her special talent of combining both period is also the artistic director and founder Australia's newest and modern styles of violin playing has led her to form a dedicated Bach ensemble, 'Bach Akademie Australia'. special relationship with the Royal Academy of Music in Madeleine plays on a 1682 Giovanni Grancino violin and a London. She has directed the Bach Cantata Series since 1704 Jo. Bapt. Rogeri baroque violin. its inception in 2009, has directed the Baroque Orchestra,
Eve Egoyan piano Eve Egoyan is an artist whose medium is the piano. solo CD, and more recently one of “Ten Top” classical discs, Her performances encompass extremely contrasting The New Yorker magazine (2009), and “Top Classical Disc sensibilities: from Alvin Curran’s five-hour longInner Cities of the Year”, The Globe and Mail (2011). Eve’s most recent to Erik Satie’s miniatures; from minimalist Simple Lines of disc, “Thought and Desire”, celebrates piano works by Linda Enquiry by Ann Southam to maximalist complexity works Catlin Smith. Eve will be releasing Maria de Alvear’s diptych by Michael Finnissy; from the barely audible to roaring De Puro Amor and En Amor Duro in 2018. Eve’s Solo for overtone-filled resonances; from the rigorous interpretation Duet, a deeply integrated virtuosic mix of sound, image, and of a score to free improvisation. Her intense focus, unspoken narrative challenging traditional conceptions of command of the instrument, insightful interpretations, and piano and pianist, has been touring internationally through unique programmes welcome audiences into unknown 2018 and beyond. Eve has been selected by the CBC as one territory. Her recordings have received accolades including of the 25 greatest Canadian classical pianists of all time. “Best Classical”, The Globe and Mail (1999), for her first
Richard Fomison trumpet Richard Fomison studied the trumpet at the Royal Whilst being in demand as a freelance modern trumpet Academy of Music under the tuition of Ray Allen, Paul player, Richard is also a specialist on the Baroque Trumpet Archibald, Robert Farley and David Staff (natural trumpet). and has been invited as Principal Trumpet to perform Engagements have included performances with the with Canadian based group Tafelmusic, Santa Fe Baroque Philharmonia, City of London Sinfonia, Trafalgar Ensemble, Orchestra (New Mexico) and Le Concert Lorrain. Richard Gabrielli Consort, Florilegium,,Ex Cathedra, Academy of recorded Bach's B Minor Mass with the Leipzig Baroque Ancient Music ,Orchestra of the Age of Enlightenment, Kings Orchestra in partnership with the famous Thomas Kirche Consort, Freiburg Baroque Orchestra, Armonico Consort, Boys Choir, and the Brandenburg No 2 with Florilegium. Drottingholm Baroque, Belmont Ensemble of London, Richard is also a member of The Prince Regent’s Band Australian Chamber Orchestra, Queensland Symphony specializing in period instrument performances of brass Orchestra and Deutsche Kammerphilarmonie Bremen. music from the late 19th Century.
Vyacheslav Gryaznov piano Vyacheslav Gryaznov is an Artist of the Moscow Ehrbar Hall in Vienna, National Center for the Arts, Mexico Philharmonic Society and is an Artist-in-Residence with The City; and as soloist with the Atlantic Classical Orchestra, the Drozdoff Society in the United States. He is on the teaching Moscow Philharmonic in Russia, RTÉ National Symphony faculty of the Moscow Conservatory’s Piano Department. A Orchestra in Dublin, Ireland, and the Dnipro Philharmonic prize-winner of international competitions in Italy, Ukraine, in Ukraine. In 2019, he will perform in China, Australia, Denmark, Georgia, Japan, and Russia (including six first and the United States, Ukraine, Belgium, France, Austria, and Grand prizes) and a frequent guest at international festivals, Colombia. Vyacheslav Gryaznov is the author of more than Vyacheslav has toured in many countries of Europe, CIS, 30 concert arrangements and transcriptions and has gained Africa, Japan, the United States, and throughout Russia. His a reputation as one of the most remarkable young arrangers NHK video recordings are shown on Japanese TV on a regular working today. In 2014 Gryaznov signed a publishing contract basis. In Russia, the pianist's recordings are often played on with Schott Music (Germany). In 2018, he released a CD of Orpheus classical radio. Gryaznov’s recent engagements his Russian Transcriptions on the Steinway & Sons label. included solo recitals at Berliner Philharmonie, Carnegie Hall, 132 Blair Harris cello Blair is a highly regarded solo cellist and chamber musician, Over his career he has worked with numerous chamber known particularly for his strikingly individual interpretations music ensembles including the Australian String Quartet, and innovative collaborative projects. Blair is passionate Streeton Trio, Inventi Ensemble and the Melbourne about the creation and performance of new music. He is a Chamber Orchestra. As a soloist Blair has performed with member of Ensemble Offspring, one of Australia’s leading the Melbourne Symphony Orchestra and Orchestra Victoria contemporary music groups, and prior to this enjoyed on numerous occasions. Blair is currently guest principal many years performing with Syzygy Ensemble. His work with cello of the Auckland Philharmonia Orchestra, and is on these award-winning groups has seen the commissioning contract with the Australian String Quartet for numerous and performance of more than 60 new works by Australian performances throughout 2018. Blair performs on a cello composers. Blair is in no way defined by this genre and takes crafted by Giovanni Battista Guadagnini, Piacenza, circa pleasure interpreting the works of all epochs, especially 1743. It is on loan from UKARIA and was purchased through with his acclaimed duo partner, pianist Caroline Almonte. the generosity of its donors.
Callum Henshaw guitar Canberra-born classical guitarist Callum Henshaw has had Cal placed first in the 2017 Melbourne International Concert success in a number of major national and international Artist Guitar Competition, securing a 10-concert tour in 2018. competitions, including First Prize Winner at the 2012 Cordoba In 2012, Cal released his first commercial recording and in 2016 International Guitar Competition, the 2014 Tirana International released the critically acclaimed, Echo & Return, which includes Guitar Competition, and the 2015 Friends of the ANU School the world premiere recording, 'Bleed-through', by Australian of Music Chamber Music Competition (with Andrew Blanch); composer, Samuel Smith. In 2018, Cal released his follow-up Best Performance of an Australian Work at the 2013 Melbourne album Forest of Dreams. A passionate advocate of the guitar, in Guitar Competition; and Third Prize at the 2014 Adelaide 2019 Cal plans a second tour of Australia, cycling the 2000km International Guitar Competition. He also won the First Prize journey between concerts to bring music to regional audiences. and the People's Choice Prize at the 2016 open instrumental Cal performs on a Greg Smallman & Sons classical guitar and is Whitworth Roach Classical Music Competition. Most recently, proudly sponsored by Knobloch Strings.
Alex Hirlian drums Alex Hirlian is a drummer currently living in Sydney. He has National Jazz Awards competition, being the youngest of the studied under both Simon Barker and Andrew Dickeson competitors under the age of 35. Alex holds the drum chair in during his time at the Sydney Conservatorium and has also the renowned ‘Judy Bailey’s Jazz Connection’ big band and received training in orchestral percussion, studying with Daryl the New Jazzgroove Mothership Orchestra. He also performs Pratt and Richard Miller. Alex has performed in groups led by with his band ‘Arcing Wires’, a 5-piece high-energy cross-genre prominent jazz figures such as James Muller, Sean Wayland, outfit highly influenced by groups such as the Donny McCaslin Vardan Ovsepian, Mike Nock, Judy Bailey, David Theak, Mike group / Knower and Kneebody. Rivett and Carl Morgan. In 2018, Alex won the prestigious
Leanne Jin piano Leanne Jin is nineteen years old and currently completing 2018, and intends to apply the award towards international a Bachelor of Music (Performance) at the Sydney competitions and masterclasses next year in both the Conservatorium of Music. She is planning a career as a United States and Europe. Leanne is also the 2018 Winner of concert pianist and chamber musician. She is one of the the Theme & Variations Emerging Artists Series. winners of the Theme & Variations Foundation award for
Jonathan Lee organ Young Australian organist Jonathan Lee currently holds (AMusA) with Distinction in 2015. He won the Intermediate the position of John Perrin Organ Scholar at Wesley section of the Sydney Organ Competition (2015, 2016), and Uniting Church, Canberra. He is a student of internationally was a Finalist in the Open Section (2018). Jonathan has been acclaimed organist, Christopher Wrench. Jonathan gained appointed Organ Scholar at Hereford Cathedral (UK), to his Licentiate Diploma in Music, Australia (LMusA) with commence in September 2019. Distinction in 2016 and Associate Diploma in Music, Australia 133 Max McBride double bass Max McBride is one of the most widely respected musicians Friends, with Pinkas Zuckerman for Melbourne Summer active in Australia today, both on the concert stage and as Music, several solo performances with Cellist David Pereira an educator. He first gained recognition as a double bassist and Viola Player Irena Morozov, a concert for Sydney’s when he became the youngest full time member Mostly Mozart Festival in 1997 with the Korean of the Sydney Symphony Orchestra in 1969. Cellist Young Chang Cho and appearances at In 1973 he gained the position of Co-principal the Townsville International Chamber Music of the bass section. After periods of study in Festival. In 1992 Max took up a full-time teaching Austria Max returned to Australia in 1979 to take position at the Canberra School of Music. In up the position of Principal Double Bass with 1996 he was invited to play with the Vienna State the Australian Chamber Orchestra. With them Opera Orchestra and the Vienna Philharmonic he toured extensively within Australia as well Orchestra under Daniel Barenboim. In 1998 and Max McBride as in Europe, the United States and South East 2000, he was again invited to play in the Vienna Asia. He also was the regular bass player of the Australia State Opera in performances including Parsifal, Die Frau Ensemble, performing most of the standard repertoire; ohne Schatten, Elektra and Barber of Seville. other significant appearances were with Kathy Selby and
Miles Mullin-Chivers cello Miles Mullin-Chivers began playing the cello when he was has also been taught by Tamas Varga, Fred Sherry, Hannu 4 years old. At 16, Miles began to study at the Sydney Kiiski, and Howard Penny. Miles performed at the Canberra Conservatorium of Music, and by the age of 19 had International Music Festival in 2017/18. In 2017 Miles played completed his Bachelor of Music Performance with with the Simon Bolivar Quartet and was part of the Festival First Class Honours, having studied under Julian Smiles. Orchestra. In 2018 Miles played Sculthorpe’s Requiem for Miles then commenced studying under Kasia Hans, who Cello Alone in the Tomb of the Unknown Warrior. Miles also he continues to work with. Miles has had masterclasses performed with the Orava Quartet and the Pietra Quartet, as with some of the world’s best cellists, such as Wolfgang well as being part of the Festival Orchestra. Miles is a Causal Emanuel Schmidt, Richard Aaron, and Phillip Muller. Miles Cellist with Opera Australia and Sydney Symphony.
Edward Neeman piano The Australian-American pianist Edward Neeman has Rachmaninoff & Sitsky, was released to wide acclaim in performed across five continents. A top prizewinner of March 2016. Dr. Neeman has made numerous piano duet numerous international piano competitions, Dr. Neeman has arrangements for the Neeman Piano Duo, in which he appeared as a soloist with the Prague Philharmonic, Sydney performs with his wife, the Indonesian pianist Stephanie Symphony, Melbourne Symphony, Kentucky Symphony, Neeman. Dr. Neeman holds a Doctor of Musical Arts degree Symphony of Northwest Arkansas, and the American West from The Juilliard School. He currently teaches piano at the Symphony among others. Dr. Neeman’s debut album, ANU School of Music.
Jason Noble clarinet Jason Noble is one of Australia’s most versatile clarinettists. musical entourage for The Shaun Parker Dance Company’s As a core member of Ensemble Offspring for over 15 acclaimed production AM I, and has jointly received “Best years, Jason has performed contemporary new music at Performance” awards with Ensemble Offspring at the festivals from Warsaw to London, Shanghai to Kabul, and APRA/AMC Art Music Awards. Having been an invited guest around Australia, working largely with living composers. teacher and performer over two winter academies at the In 2017 Jason co-curated a Musica Viva Sessions salon in Afghanistan National Institute of Music in Kabul, Jason collaboration with Artbank and violinist Veronique Serret, continues to support the school through fundraising and and also released his first solo album,Chi’s Cakewalk — a skype lessons. Similarly, he maintains close ties with the Tiwi collection of contemporary Australian works for clarinet and Strong Women's Group, Ngarukuruwala, with whom he has bass clarinet. He has toured internationally as part of the live appeared at festivals and performed on their two albums.
134 David Pereira cello From 1990 to 2008 David Pereira was Senior Lecturer him as an outstanding figure in the Canberra arts scene.’ in Cello at the ANU School of Music, where he is now a Over the last forty years David has established himself as an Distinguished Artist in Residence. In 2010 David received outstandingly versatile and leading cellist with appointments the CityNews Artist of the Year Award, having been selected to top professional positions. He was for eleven years by The Canberra Critics’ Circle – ‘for making his mark on cellist of the Australia Ensemble (resident at the UNSW), music in Canberra and the immediate region with his cello- for seven years Principal Cellist of the Australian Chamber focused David Pereira Cello Series, which demonstrated his Orchestra and for three years Principal Cello with the Sydney ability to interpret different compositional styles; and for his Symphony Orchestra. encouragement of young associate artists which stamps
Alex Raupach trumpet Alex Raupach is a trumpet player, composer and improviser analogue drum machine. In 2018 he moved from Melbourne and the leader of the Alex Raupach Quartet, a Canberra- back to Canberra to build his arts management career in a Sydney collaboration featuring award-winning jazz mentorship with CIMF’s Artistic Director Roland Peelman, musicians Steve Barry, Thomas Botting and Alex Hirlian. supported by an Australia Council Career Development He can also be heard with five-part Sydney indie-folk outfit Grant. He was subsequently appointed General Manager of Giffen, playing double bass and singing, or as a solo performer the Festival. with his own P R E T T Y S L O W M U S I C for piano, voice and
Véronique Serret violin Véronique Serret has played with the Australian Chamber frequently performs with the Sydney Symphony Orchestra, Orchestra for many years and was recently appointed and has appeared as guest principal violin with the Concertmaster of the Darwin Symphony Orchestra. She Tasmanian Symphony.
Dan Tepfer piano Dan Tepfer has made a name for himself as a pianist- Street Journal) in “an impressive feat that keeps coming composer of wide-ranging ambition, individuality and drive back to a hearty and abiding respect” (New York Times). As — “a remarkable musician” in the words of the Washington a composer, he is a recipient of the Charles Ives Fellowship Post and one “who refuses to set himself limits” in those of from the American Academy of Arts and Letters for works France’s Télérama. The New York City-based Tepfer, has including Concerto for Piano and Winds, premiered in the performed with some of the leading lights in jazz, including Prague Castle with himself on piano, and Solo Blues for Violin extensively with veteran saxophone luminary Lee Konitz. As a and Piano, premiered at Carnegie Hall. Bringing together leader, Tepfer has crafted a discography already striking for its his undergraduate studies in astrophysics with his passion breadth and depth, ranging from probing solo improvisation for music, he is currently working on integrating computer- and intimate duets to richly layered trio albums of original driven algorithms into his improvisational approach. Awards compositions. His Sunnyside/Naïve album Goldberg include first prize and audience prize at the Montreux Jazz Variations / Variations saw the prize-winning pianist Festival Solo Piano Competition, first prize at the East Coast performing J.S. Bach’s masterpiece as well as improvising Jazz Festival Competition, and the Cole Porter Fellowship upon it to “build a bridge across centuries and genres” (Wall from the American Pianists Association.
Sally Walker flute Flautist Sally Walker is Lecturer in Classical Performance Potter Cultural Fund and the Queen’s Trust. She has toured (Woodwind) at the Australian National University and with the Berlin Philharmonic, Leipzig Gewandhaus Orchestra resident Flautist with the Omega Ensemble. She was grand- and has performed as Guest Principal with the Deutsche finalist in Italy’s Leonardo de Lorenzo International Flute Kammmerakademie Neuss, Kammerakademie Potsdam, Competition, second prize winner in Germany’s Friedrich BBC National Orchestra of Wales, City of Birmingham Kuhlau International Flute Competition and has won awards Symphony Orchestra and the Australian Chamber from the German Academic Exchange Service (DAAD), Ian Orchestra. Her chamber music collaborations range from 135 Early Music to eclectic multi-disciplinary and World music, works by Australian composers: David Banney, Marian often commissioning and premiering new works. Sally is a Budos, Andrew Chubb, Andrew Ford, Sally Greenaway, graduate of the University of Sydney, Hannover Hochschule Daniel Rojas, Paul Stanhope, Sally Whitwell as well as Coco für Music und Medien and Munich Hochschule für Musik Nelegatti (Argentina) and Knut Müller (Germany). She has und Theater. Deeply committed to chamber music, with a long standing collaborative relationship with composer collaborators including Tamara Anna-Cislowska, Aiko Goto, Elena Kats-Chernin, and in 2015 commissioned Kats- Steven Isserlis, David Greco, and Simon Tedeschi, Sally Chernin to write her a flute concerto. enjoys collaborating with composers and has premiered
James Wannan viola, violin Violist James Wannan is based in Sydney, having previously James perform oud in the Sydney Festival with SCO and as studied viola with Alice Waten in Melbourne and viola viola d’amore soloist in the Sydney Biennale. As a soloist d’amore in Vienna with Marianne Rônez. He explores his James has worked with orchestras including the Melbourne passion for music from ancient to contemporary on a Chamber Orchestra, the Tasmanian Symphony Orchestra, number of instruments. In 2015 James performed as violin and the Melbourne Symphony Orchestra. He has performed soloist in Elliott Gyger’s opera Fly Away Peter featured at as a viola d’amore soloist in festivals in Austria and Germany, the Melbourne Festival, recorded a CD of music by Jack and has been invited to perform as guest principal viola with Symonds, collaborated on five Australian premieres and the Hong Kong Philharmonic Orchestra. He toured Europe toured to China with the Sydney Symphony. 2016 saw as principal viola of the Asia Pacific United Orchestra.
Kristian Winther violin Born in Canberra in 1984, Kristian Winther studied violin String Quartet and though he “captivated audiences with his with Josette Esquedin-Morgan, and conducting with John virtuosic performances and his fresh and dynamic approach Curro, with whom he performed the Sibelius Violin Concerto to string quartet repertoire”, artistic differences led to at the age of fifteen. In 2007 Kristian founded the Tinalley his departure, a sad undertone in Scott Hicks’ film Highly‘ String Quartet, before proceeding to win the 2007 Banff Strung’. Kristian continues to perform chamber music and International String Quartet Competition followed by a string enjoys playing music from the 17th to the 21st centuries in of acclaimed performances overseas. By 2009 Kristian gave the Play On series for sold out audiences under the age of the Australian premieres of Brett Dean's violin concerto The 30 in an underground car park in Collingwood. For the 2019 Lost Art of Letter Writing and of Andriessen's string quartet Canberra International Music Festival, he presents the Facing Death. During 2013 to 14, Kristian led the Australian complete Bach solo works for the first time in public.
Daniel Yeadon classical cello,cello piccolo, gamba Daniel Yeadon is exceptionally versatile as a cellist and guest principal cellist with many of the period instrument viola da gambist, performing repertoire ranging from the ensembles based in London, including the English Baroque Renaissance to contemporary. As a chamber musician Soloists and the Orchestra of the Age of Enlightenment. he has performed in many major venues and festivals Daniel has made many award-winning recordings, including throughout the world. He co-founded Ironwood, an an ARIA winning disc of sonatas by J.S. Bach with Richard Australian ensemble known for its presentations of the Tognetti and Neal Peres Da Costa; the J.S. Bach sonatas for classics alongside new commissions for early instruments. viola da gamba and harpsichord with Neal Peres Da Costa; J.S. Daniel is a part-time member of the Australian Chamber Bach cantatas and Brandenburg concertos with John Eliot Orchestra, has appeared as soloist with the Australian Gardiner and English Baroque Soloists, in addition to many Brandenburg Orchestra and has performed on several critically acclaimed recordings with Ironwood, Florilegium national chamber music tours for Musica Viva Australia. and the Fitzwilliam Quartet. Daniel is in much demand as He performs every year with Pinchgut Opera. Originally a teacher. Associated with the Sydney Conservatorium of from the UK, Daniel read physics at Oxford University and Music since 2005, he also has a key role in the education studied historical performance at the Royal College of team of the ACO. He is currently undertaking a PhD focusing Music in London. For many years he was a member of the on the group learning experiences of students in tertiary renowned period instrument ensemble Florilegium and later music institutions. Daniel Yeadon appears courtesy of the joined the Fitzwilliam String Quartet. Daniel continues to be Sydney Conservatorium of Music, University of Sydney. 136 And ...
Helen Garner author Helen Garner was born in 1942 in Geelong, and was educated two-year-old Daniel Valerio. In 1995 she published The First there and at Melbourne University. She taught in Victorian Stone, a controversial account of a Melbourne University secondary schools until 1972, when she was dismissed for sexual harassment case. Joe Cinque’s Consolation (2004) answering her students’ questions about sex, and had to was a non-fiction study of two murder trials in Canberra. start writing journalism for a living. Her first novel, Monkey In 2006 Helen Garner received the inaugural Melbourne Grip, came out in 1977, won the 1978 National Book Council Prize for Literature. Her most recent novel, The Spare Award, and was adapted for film in 1981. Since then she Room (2008), won the Victorian Premier’s Literary Award for has published novels, short stories, essays, and feature Fiction, the Queensland Premier’s Award for Fiction and the journalism. Her screenplay The Last Days of Chez Nous was Barbara Jefferis Award, and has been translated into many filmed in 1990. Garner has won many prizes, among them languages. Helen Garner lives in Melbourne. a Walkley Award for her 1993 article about the murder of
Genevieve Jacobs conversationalist Genevieve Jacobs has been a journalist for 30 years, She works with a wide range of organisations including the working in print and radio. She spent over a decade with Tara Costigan foundation, Gift of Life ACT and ACT Wildlife ABC Canberra, reporting on everything from politics to Rescue among others and sits on the ACT’s advisory human interest, and developing a deep understanding of committee for historic places. She has an enduring interest her community. Telling our city's stories is her great passion. in the arts and in strengthening community engagement.
Glenn Perry librrettist Australian librettist and playwright Glenn Perry has written Bach, composed by Andrew Shultz and directed by Chris libretti for Chambermade Opera, including two operas Kohn for Chambermade Opera at Malthouse Theatre, composed by the Chinese-Australian composer Julian Melbourne, which was nominated for Best New Operatic Yu: Fresh Ghosts (1997), performed at Theatreworks, Work, Green Room Awards 2008. Glenn has also adapted Melbourne, and The Possessed (2003), performed at Chapel novels for theatre and radio, including Mikhail Bulghakov’s Off Chapel (both productions directed by Douglas Horton), The Master and Margarita (5 Dollar Theatre Company), as well as an unperformed opera based on Tim Winton’s Morris Gleitzman’s Second Childhood (Melbourne Theatre That Eye The Sky, also composed by Julian Yu. He received Company/Hothouse) and Roulettenburg, a radio-play a 2007 RE Ross Trust Playwrights' Script Development adapted from Dostoyevsky’s The Gambler (ABC Radio Award to write the libretto for Helen Garner’s The Children’s National).
Leonard Weiss conductor Leonard Weiss conducts the Canberra Youth Orchestra, is a passionate champion of Australian repertoire and has National Capital Orchestra, Canberra Sinfonia, Australian conducted world premieres by composers-in-residence National University Choral Society and is a regular guest Christopher Gordon, Jessica Wells, Sally Greenaway and conductor of the Musica Da Camera String Orchestra. He Chloe Sinclair, plus Australian/local premieres by Carl Vine has studied with Johannes Fritzsch and the Tasmanian (composer-in-residence), Graeme Koehne and Matthew Symphony Orchestra (Australian Conducting Academy Hindson. Upcoming commitments in May-June include 2018 & 2019) and with the late Richard Gill AO. Leonard has Gloria (Vivaldi), Sinfonia Concertante (Mozart), Symphony recently been invited to commence a Masters in Conducting no. 2 (Rachmaninov), Vivaldi Recomposed (Richter) and studying with maestro Marin Alsop at the Peabody Institute Carmina Burana (Orff). Leonard was the 2016 Young in the USA, which he will commence in August. Over the last Canberra Citizen of the Year (Youth Arts and Multimedia) five years Leonard has conducted 200+ major works. He and ACT Finalist for 2016 Young Australian of the Year.
137 Australian Brandenburg Orchestra Baroque Violin Theorbo / Baroque Guitar Percussion Shaun Lee-Chen* Tommie Andersson* Brian Nixon Matt Bruce* Nicholas Pollock Harpsichord / Organ / Ben Dollman* Baroque Flute/Recorder Harmonium Baroque Viola Melissa Farrow* Paul Dyer* Monique O’Dea*1 Mikaela Oberg Voice Baroque Cello Baroque Harp Jane Sheldon soprano Jamie Hey* Hannah Lane Lauren Stephenson soprano Baroque Bass Rob Nairn*2 * Denotes Brandenburg Core Player 1 Monique O’Dea appears courtesy of Presbyterian Ladies’ College, Sydney (staff) 2 Rob Nairn appears courtesy of Conservatorium of Music, University of Melbourne (staff) Harpsichord & Organ preparation by Joanna Butler Circa Ela Bartilomo Alice Muntz Jake Silvestro Scott Grove Noah Nielsen Gerramy Marsden Giulia Scamarcia Bach Akademie Australia Madeleine Easton director / solo violin / viola d'amore Violin Cello Guitar / Theorbo Stephen Freeman Danny Yeadon Tommie Andersson Matt Greco Anton Baba Oboe David Rabinovici Anthea Cottee Emma Black Rafael Font Double Bass Aaron Reichelt Annie Gard Kirsty McCahon Flute Shaun Warden Ruth Wilkinson Jessica Lee Viola Harpsichord / Fortepiano Nicole Sherringham Marianne Yeomans Korneel Bernolet Bassoon Nicole Forsyth Organ Simon Ricard Viola d'amore Nathan Cox Trumpet James Wannan Richard Fomison Band of the Royal Military College – Duntroon Major Darren Cole – Officer Commanding / Music Director Flute Alto Sax Trumpet Corporal Lisa Agnew Lance Corporal John Felstead Sergeant Brendon Tasker Corporal Elspeth Forster Musician Julian Fung Musician Alex Long Oboe Tenor Sax Musician Billy Thomson Musician Nerrida McCorkell Musician Rouslan Babajanov Musician David Willis Clarinet Musician Anthony Sheldon Trombone Captain Nicolas Buff Baritone Sax Lance Corporal Steve Davison Warrant Officer Class One Gary Caira Musician Erin Logan Musician David Leaders Musician Darren Ormsby Corporal Andrea Clifford-Jones Bassoon Musician Evan Patrick Musician Bronwen Allan Musician Elizabeth Affleck Musician Jacquelyn Broomhead Euphonium French Horn Musician Scott Collinson Sergeant Jen Cooke Sergeant Rod Lewin Musician Lenore Evans Corporal Susan Waterman Bass Clarinet Corporal Stephen Wylks
138 Tuba Percussion Musician Gabrielle Mears Lance Corporal Simon Thom Musician Luke Greenhalgh Musician Bjorn Pfeiffer Musician David Wyatt Musician Rachel Shead Musician David Sunderland Musician Elizabeth Cherry
Canberra Youth Orchestra Leonard Weiss director Violin 1 Nicky Philipse Maya Binns Ragnel Jansdotter** Vivienne Tran Bridget Darby Isaiah Bondfield Double Bass Mae Schembri Mila Haydon Hayley Manning Trumpet Shirahni Mudalier Flute/Piccolo Rohan Heffernan* Madeleine Nelson Serena Ford* Alexander Fraser Yi-Ming Zeng Luka Ruwette Jessica Hill Janice Ka Wing Lai Luke Schiffer Trombone Violin 2 Oboe Laura Kristina Kleine Butron* Elsa Huber* Lucy Preece* Wilson Ng Juliette Ciaccia Gudrun Drake Max Rogers Raymond Doan Clarinet Tuba Amy Green Nicholas Hilderson* Alec Fuller* Kaipo Tkalcic Juniper Bedwell-Wilson Maggie Webber Percussion Alice Hutchinson James Snedden Viola Bassoon Océane Tinarran Iska Sampson Anna Sharp* Alina Zamfir Laura Radajewski Cello French Horn * denotes Principal Thomas Powles* Olivia Low* **Concert Master Megan Chen Ntaria Choir Susan Abbott Tjirpowa Meneri Clarabelle Swift Sonya Braydon David Roehnfeldt Marjorie Williams, known as Nunga Lina Driffen Lily Roehnfeldt Lizzie Jako Marion Swift Luminescence Chamber Singers Chloe Lankshear soprano Alex Siegers alto Patrick Baker bass Veronica Milroy soprano Olivia Swift alto Charles Bogle bass Emma Griffithssoprano Cody Christopher tenor AJ America alto Dan Walker tenor Luminescence Children's Choir Hannah Appaneal Nina Donaldson Eleanor Magee Evan Banks Mia Edwardson Arabella McDonald Inara Beeby Anneke Heidmann Ella Rogers Amelia Bobbin Andriel Hernandez Eugenia Sawczak Anjea Byrne Jim Hodgson Sasha Sawczak Valdas Cameron Wynton Johnstone Nina Stachursky Chase Cheong Mila Liu Antonio de la Torre Ella Cooper Ava Lymburner Ava Vagnarelli Clarion Emma Griffithssoprano Dan Walker tenor Tobias Cole countertenor Andrew Fysh bass
139 Turner Trebles Serena Adams Seema Chaman Lucy Quinn Charlie Archer Chloe Edwards Abigail Silver Matilda Barker Rachel Edwards Eva Silver Emma Bell Kevin Fan Lottie Walker Heidi Bell Sophia Fleissner Alan Wen Ishan Biddle Edward Meir David Windeyer Sujaan Biddle Lyndon Meir Tom Bullen Emma Piva ANU Vocal Fry Ellie Archer Eve Hudson Hannah Nolte-Crimp Declan Ballhause Matilda Jenkins Emily O’Brien Amelia Bell Harry Jones Noah Palethorpe Ethan Bendeich Jane Jouravlev Christina Pilgrim Grace Bullen Jasmine Leong Morgan Quinn Jessie Cole Jackson Low Noah Rose Zachary Connor Connor MacKenzie Julius Stoljar Fey Etherington Annabella McInnes Cassidy Thomson Max Etherington Anila McLoughlin Mia Thornton Zoé Gedeon Jessica Manclark Lydia Walters Olive Goode Anya Markovic Maggie Webber Amira Hibberd Saskia Meir Hugh Windeyer
Bella Voce Chapel Choir (Canberra Girls' Grammar School) Greta Claringbould conductor Kylie Loveland accompanist Mishthi Ahuja Emily Ezaki-Swain Emma Phillips Beatrice Alexander Amelia Farrell Rose Phillips Harriet Allen Esther Hampton Lucy Piva Manuri Arachchige Georgina Hill Lilian Bailey Amy Knowles Lana Sault Amelia Baker Sophia Lee Isabella Simatupang Isabelle Becvarik Tatyana Ludwig Manon Smair Claudia Bridgewater Paige Martin Lucia Stewart Hannah Campbell Marlie McIntosh Isabella Tattersall Louisa Carr Saskia Meir Eloise Crawford Miranda Memmolo Alessandra Wah Chameesha Dayajeewa Amy Miners Chloe Willemsen Hannah English Harper Mitchell Alexandria Williamson Isra Eski
Canberra Girls' Grammar Music Students Greta Claringbould director Harriet Allen Cassie Linares Maya Wilde Chelsea Antich Annabel Mulcahy Chloe Willemsen Lilian Bailey Maddie Nelson Lujia Yang Elsa Guile Alexandra Peters Charlotte Young Anna Khan Selena Wiesel
140 Canberra Grammar School Choir Tega Adegbite Matthew Johnston Caledonia O'Kane Indra Alffram Benjamin Kalenjuk Amber-Rose O'Kane Clancy Anderson Jackson Kartchner Leilland O'Keefe Hamish Anderson India Kazakoff Itamar Oren Callum Bennett Matilda Klein Mika Pace Jack Bolton Frederick Klein Sachintha Panagoda Alice Cameron Georgia Knight Fergus Pandy Lachlan Carpenter Angus Knowles Nathan Pearson Oliver Chisholm Audrey Kuan Ambrose Phelps Robert Di Dio Genevieve Lane Alexander Phillips Saphyre Farrelly Jesse Lane Matilda Roszkowski Lily Feakes Nicholas Lawrance Arjun Sharma Zara Ford Jackson Low Katherine Stewardson Alexander Fraser Will Madl Romy Swan Nivedita Gawarikar Imogen McMahon Mikayla Wadie Julian Guesnon Declan Memmolo Freya Wilson Grace Guthrie Peeter Mirlieb Natalie Wilson Angela Han Samuel Mulder Leia Winter Xavier Hayward Ryan Neilsen Linus Zwahlen Millicent Jacobson Alice Newnham Canberra Grammar School Chorale Campbell Angove Oscar Ho Ariella Redwin Dominic Bassford Sanjana Jain Harry Robertson Annaliese Bennett Henry Klat-Smith Timothy Robson James Biddington William Laverty Daniel Ross Sophie Bou Joscelyn Lim Poppy Russell Darcy Busch Zara Mand Caitlin Sheldon Jack Cassidy Magnus Manning Shreyas Sunkaraneni Audrey Cuthbert Barbora Masinova Joseph Terrell Aiden Davie Ethan Murphy Elliot Thomson Jonathan de Feijter Jillian Murphy Nicolaas Van Der Walt Alice Emery Jeremy Newman Sam Wilson Angelina Forner Haochen Niu Maya Wing Baoxi Gao Kavinda Panagoda Oliver Gotzinger Rupert Pandy Willem Hehir Eliza Peake Samantha Henry James Peake
141 We would like to acknowledge long time supporter of the Canberra International Music Festival Betty Beaver for her generous donation this year in celebration of our 25th anniversary
Artist Supporters
The Brodsky Quartet is supported by Susan & David Chessell Dan Tepfer is supported by Carolyn Philpot Korneel Bernolet is supported by Margot Woods & Arn Sprogis Los Pitutos are supported by Carolyn Philpot Andrew Goodwin is supported by Anonymous Bach Akademie Australia is supported by Bev & Don Aitkin Callum Henshaw is supported by Gudrun Genee Daniel Yeadon is supported by Andrew Blanckensee David Pereira is supported by Gail Lubbock Ntaria Choir is supported by Pam & Allan O'Neil Penny Quartet is supported by Peter Wise Roland Peelman is supported by Anna & Bob Prosser
Commission Supporters The 2019 Beaver Blaze, by the Composers’ Collective-In-Residence, is supported by A Major Lift Nick Wales’s commission is supported by A Major Lift Jess Green’s commission is supported by A Major Lift Chris Sainsbury's commission is supported by A Major Lift Bree van Reyk's commission for CYO is supported by APRA ART MUSIC FUND Michael Dooley's commission is supported by Andrew Johnston Moya Henderson's commission is supported by John Davies Ella Macens's commission is supported by Margot Woods & Arn Sprogis and Irena Sprogis
142 Concert Supporters
Concert 1 A World of Bach is supported by Lyndall Hatch & Robin Gibson Concert 3 Shall We Dance? is supported by Koula Notaras, Jenny & Emmanuel Notaras Concert 5 Latin Romance is supported by Margaret & John Saboisky Concert 6 Bach's Orbit is supported by Marjorie Lindenmayer Concert 7 Bach in the Central Desert is supported by Andrew Blanckensee Concert 8 The Three Bs is supported by Dianne & Brian Anderson Concert 9 Magic Garden is supported by Debbie Cameron Concert 10 St John Passion is supported by Peronelle & Jim Windeyer Concert 11 Up Close at Gorman is supported by the members of Pro Musica Concert 12 Slava's Piano is supported by Marjorie Lindenmayer Concert 13 Bach on the Mountain is supported by Lynlea & Clive Rodger Concert 14 Brexit Blues is supported by Marjorie Lindenmayer Concert 15 Brodsky Quartet is supported by Margaret Frey Concert 17 The Children's Bach is supported by Gail Ford Concert 19 Bach in Africa is supported by Claudia Hyles Concert 20 Goldberg Variations/Variations is supported by Warren Curry & Randy Goldberg Concert 21 Bach for All is supported by Mrs Marlena Jeffrey & Major General Michael Jeffery AC AO (Mil) CVO MC (Retd) Concert 22 Augmented Piano: Solo for Duet is supported by Lilian & Govert Mellink and More than Medicine Concert 23 Testament is supported by Peronelle & Jim Windeyer
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. Copyright Pro Musica Inc. 2019 143 CIMF 25th Birthday Appeal
Dianne & Brian Anderson Marjorie & Ewan Letts Andrew Blanckensee Wendy & Stewart May Margaret Bourke Betty & Paul Meyer Terence Boxall & Felicity Paton-Boxall Dr Ingrid Moses AO & Dr John Moses Julie Carmody Jeremy Newman Mary & Phillip Constable Pam & Allan O'Neil Liz Conway Sue Packer Dudley & Helen Creagh Carolyn Philpot Mark Devlin Anna & Bob Prosser Christine Goode Lynlea & Clive Rodger Robert Goodrick Hannah Semler Lyndall Hatch Robin Sevenoaks Catherine Hawkins & David Windsor Julie Shaw Judith Healy Heather & Paul Shelley Peggy Horn Geoffrey Smith Julie Hotchin Helene Stead Leonie Hunt Malgorzata Stepuch & Janusz Florek Meryl Joyce Annie Whealy Maya & Obada Kayali Anthony Whealy Carol & Richard Kenchington Annabel Wheeler Siew-Ean Khoo Margaret & David Williams Kate King Diane Wright Penny Le Couteur & Greg Dickson Anonymous donations (6)
144 Making a Difference
Anne Cawsey Judith Noble Bev Clarke & Graham Chalker David Riggs Catherine Hawkins & David Windsor Léonie John & Michael Stenning Jane McGreevy Anonymous (2)
A Major Lift
Andrew Blanckensee Heather McLoughlin Robyn & Penleigh Boyd Lilian & Govert Mellink Jennie & Barry Cameron Kate Morgan & Richard McHugh Frances & James Carter Prof Ingrid Moses AO & Dr John Moses Bev Clarke & Graham Chalker Carolyn Philpot Jean Dalton Anna & Bob Prosser Jennifer Dobbin Margaret & John Saboisky Catherine Hawkins & David Windsor Brenda & Mark Simkin Judith Healy Sarah Ross-Smith Rosemary & Peter Ingle Irena Sprogis Margaret & Peter Janssens Elsina Wainwright & James Hooke Maria Kwiatkowska & David Hawkins Mandy Westende Gabrielle Lewis & Damien O'Donovan Allison Will & Jonathan Woodger Marjorie Lindenmayer Margot Woods & Arn Sprogis Rachel McCallum & Gavin Morrison Anonymous supporters (2)
145 2019 Festival Team
Roland Peelman Artistic Director Alex Raupach General Manager Hanna-Mari Latham Office and Finance Manager Lillian Hannock Marketing Coordinator Olivia Swift Artist Coordinator Dan Sloss IT and Systems Manager
PRODUCTION David Howe Production Manager Hannah Semmler External Venues Producer Rachel Gould Fitters’ Workshop Venue Manager Neil Simpson Fitters’ Workshop Technical Manager Steve Crossley Logistics and Fitters’ Workshop Site Manager Joshua Robinson Production Assistant Jill Sketchley, Daniel Kempton Bach for Breakfast Coordinators Anna Prosser Festival Trip Coordinator Klara Beresnikoff Accommodation Coordinator Victoria Lees Transport Coordinator Colleen Fox Catering Coordinator Darren Russell Technical Consultant Eddie Bernasconi, Julia Janiszewski, Jonathan Lee, Alexis Weaver Production Interns Rohan Heffernan, Isaiah Bondfield, James Snedden Work Experience Production Assistants Jonathan Lee, Joshua Robinson Surtitle operators
MARKETING AND PUBLIC RELATIONS Kristen Kipouropoulos Marketing Coordinator Marilyn Chalkley Publicity Geoff Millar Publications Manager Cassandra Hollis (Storm Design) Graphic Designer Jon Holden Videography Peter Hislop, William Hall and Anthony Browell Photography Ralph Lane OAM, Kimmo Vennonen, Christian Huff-Johnston, Tim Lamble Audio Recordings
FRONT OF HOUSE Jenny Harper Box Office and Front of House Manager Jennifer Whipp Volunteer Coordinator Margaret Janssens Membership Secretary Andrew Blanckensee Bar Manager 146 Pro Musica Board:
Bev Clarke President Kent Chambers
Dorothy Danta Vice-President Catherine Hawkins
Govert Mellink Vice-President David Chessell
Anita Hargreaves Treasurer Genevieve Jacobs Anna Prosser Jennie Cameron Christina Cook
Volunteers: Jessicca Atkins, Bill Barker, Robyn Boyd, Maureen Boyle, Tricia Burritt, Graham Chalker, Caroline Cockburn, Helen Cory, Sally Curlewis, Anne Davis, Rachael Eddowes, Juan Ignacio López García, Ros Greenwood, Ian Hawke, Iwona Hawke, Leanne Hillier, Susan Ingred Hjaelmhof, Norm Hughes, Pauline Jennings, Mary Kelly, Rachel Letts, Annette Lock, Agnieszka Malzacher, Jurek Malzacher, Pamela McKay, Helen Moore, Debra Nowell, Patricia O'Brien, Jan O'Connor, Brendan O'Loghlin, Clara Pelloquin, Anna Prosser, Anne Reese, John Reis, Julie Reis, Jan Reksten, Richard Rowe, Christina Sainsbury, Chrissie Shaw, Helene Stead, Ewa Talent, Helen Tan, Christine Watson, Gary Whipp, Jennifer Whipp, Josie White, Sharleen Wyer, Yu Zhong
Billeters: Jan Adams, Joanna Adamson, Dianne Anderson, Liese Baker, Celeste Barker, Sue Beaver, Klara and John Beresnikoff/Marshall, Judy and Peter Biggs, Bill/Margaret Book/Smythe, Jennie and Barry Cameron, Mary and Philip Constable, Jean and Len Chesson/Crossfield, Sally Curlewis, Judith Gates, Robert Goodrick, Gini Hall, Peggy Horn, Elspeth and Graham Humphries, Claudia Hyles, Barbara and John Inglis, Sylvia Jamieson, Margaret and Peter Janssens, Peter Jones, Carol and Richard Kenchington, Gail Lubbock, Bridget Middleton, Elizabeth Moore, Helen Moore, Ilona & James Nichterlein, Pamela and Allan O'Neil, Mark and Debra Parsons, Eric and Megan Pozza/ Curlewis, Diana Primrose, Anna & Bob Prosser, Michael & Léonie Stenning/John, Jane Thompson, Deborah Warren-Smith, Peronelle and Jim Windeyer
Special Thanks: The Festival staff would like to express heartfelt thanks to the Board of Pro Musica Inc. and our team of dedicated volunteers without whom this festival would not be possible. Thanks also to those organisations and people who help us keep our office running all year round:
WOTLink: Anthony Miller, Regan Harrison Ainslie Arts Centre: Elizabeth Curry, Sia Ahmad, Mauro Aviles, Callie Doyle-Scott, David Suttle TryBooking: Delma Dunoon
147 Thank You This year the Canberra International Music Festival celebrates 25 years of what has been a remarkable journey. Our festival had its genesis in the aspirations of some passionate music lovers who wanted to provide performance opportunities for young musicians and bring music to the Canberra community. Our network of supporters has grown significantly since those early days to encompass a legion of amazing people who invest their time, open their homes and provide financial support for individual concerts, artists and composers to make our festival a reality each year. We would like to express our gratitude for the ongoing support we receive from the ACT Government and the Australia Council for the Arts, and our business, media and venue partners. We are very proud that so many of you share our vision for a world class cultural event in our nation’s capital. This year we launched two special appeals - our 25th Birthday Appeal and a new donor circle, A Major Lift - and were overwhelmed by the generosity of your response. The additional funds raised have supported increased investment in our artistic program and the creation and performance of new Australian music to be premiered in this year’s festival program. In our anniversary year, I would also like to pay tribute to our Artistic Directors who have been instrumental in nurturing our festival’s reputation for innovation and excellence. Our first professional artistic director, Nicole Canham, laid the foundations for the adventurous artistic programming that defines CIMF today. We owe an enormous debt to Nicole, Chris Latham and now Roland Peelman for their artistic vision, so many memorable performances and the rich diversity of music they have exposed us to each year. It is after all their insight, passion and hard work that has made the Festival’s artistic programming so distinctive. To all those who have supported the Festival over the last 25 years we thank you. Roland has put together a program to mark this moment in the history of CIMF which we hope inspires you to come back for many more festivals to come. Bev Clarke President, Pro Musica Support our Festival by becoming a member You can support the Canberra International Music Festival by becoming a member of Pro Musica Inc., a not-for-profit organisation that delivers 10 days of world-class music at its annual festival. Join now and enjoy members' exclusive benefits: • Membership until 31 October 2020 • Priority booking period for 2020 Festival (available in November 2019) • 15% discount on all Shaw Vineyard Estate wines • Members-only newsletter • Voting rights at the Annual General Meeting • Concession price on Festival Pass and single tickets for the 2020 Festival • Invitations to special events and discounts on performances throughout the year
Membership fees per annum are $50 ($25 for students) Interested? Visit us at cimf.org.au, click on the Become a Member button and follow the links.
148 OUR PARTNERS The Festival is proud to work with a number of partners both in government and in the private sector. These partnerships are crucial to the Festival's ongoing sucess, and we proudly acknowledge their support.
PRINCIPAL GOVERNMENT PARTNERS
MAJOR PARTNERS
CULTURAL PARTNERS
FESTIVAL PARTNERS
FESTIVAL SUPPORTERS cimf.org.au
WE MAKE MUSIC ON NGUNNAWAL COUNTRY