ANAM 2012 AUSTRALIAN NATIONAL ACADEMY OF MUSIC FEBRUARY MARCH APRIL the music makers These words, set to music by Elgar in Our impoverished national conversation - However it is not the accomplished musical measured out in sound bites and media and technical facility of ANAM’s students 1912, capture the spirit of ANAM’s year cycles, where a musical prelude is a that wins them their much sought-after of music making in 2012. ‘commercial product’, an engaged listener place in this prestigious institution. This is a a ‘customer’, a music school a ‘brand’ - is given. It is the insatiable hunger to explore in need of attention. When the wings of new musical places; a raw, testing, energy Today the country’s dreaming is in those who set out to articulate a new vision that consistently generates an excitement need of attention as never before. are hung upon, dragged down and that is unique to the Town Hall’s clipped, we are in critical need of our performances. dreamers. In partnership with leading guest artists Into this diminished cultural landscape we from and abroad, ANAM’s music launch our young and fearless students, makers present over 170 public your music makers. performances each year. In 2012 their performing partners will include Anthony ANAM’s mission is to create the next Marwood, Paul Daniel, Paul Kelly, Sara generation of Australia’s musical leaders; to Macilver and dynamic young Portuguese produce performers who can lean in on the conductor Joana Carneiro. A highlight of national imagination and leave their the 2012 program will be the world impression; music makers who can create premiere of Conversations with Ghosts, a a space in the cacophonous contemporary new set of songs by singer/songwriter noise for the dreaming of dreams. Paul Kelly, composer James Ledger and recorder virtuoso Genevieve Lacey. ANAM provides a place for the country’s finest young musicians to work and to test Through the four editions of our new Music their voices in public. Based in the South Makers broadsheet this year we invite you Town Hall, on top of the hill in to take a look at life at ANAM and explore the Emerald Hill precinct, ANAM’s 60 the ideas that underpin the programs and students come from across the country for performances in 2012. a yearlong program of intense, performance-based training. We hope that you enjoy the music making.

Nick Bailey Nlsone First year at ANAM: the Nelson Yarwood (viola) music

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Second year at ANAM: makers Gladys Chua (piano) A R g (french horn) Ioakimidis-MacDougall Georgia Year ANAM: at Third eo g i

paul Paul Dean (Artistic Director)

Nelson I am anticipating that I will be Georgia For me, 2012 is about next pushed to my very limit whilst studying at year. It is about perfecting the art of ANAM in 2012. The wonderful thing about practise and being audition ready. The Where ANAM is that the students are given better self-directed my learning is, the more many opportunities to perform in a wide informed my questions are of them, leading array of musical mediums and styles. It is to a more productive dialogue. My most from this immersion that I expect to important goal for 2012 is to have develop into a more informed and confidence in myself as an artist and to will ANAM compelling musician. trust my work and musicianship so I can better engage with my audience. Gladys To the edge and back again! I grew so much as a musician last year, and Paul As an artistic director and musician, take you I can’t wait to get stuck into the exciting ANAM inspires me every day by the year that 2012 at ANAM will be. energy and dedication that is created in the South Melbourne Town Hall. It will be a challenging year, but together with the assistance of great faculty and staff, I in 2012? firmly believe that this will be ANAM’s most exciting year yet. Maurice, Henri & the children A feast of French music is on the menu at ANAM for 2012 – the glories of Lully and the French baroque, the sensuality of Debussy and Faurè, and the zany antics of Les Six. Music of Henri Dutilleux, still composing at 96 and one of France’s greatest composers, features alongside music by Ravel in ANAM’s free 2012 Opening Concert, Friday 2 March at 7pm (bookings essential). Maurice, Henri & eth children Two French masters and their own these and then feel guilty because they before Beauty’s eyes into a glorious prince, a background, these questions leap out as individual reflections on different aspects of were really very sad.” little Empress serenaded by tiny statues, and accusations against not only the Nazis, but childhood, one magical and imaginary, the little Tom Thumb lost in the forest, his trail of all who harm the innocent and defenceless. Like most good Parisian bourgeois other disturbing but real, make for a breadcrumbs eaten by birds. The happy Dutilleux has dedicated this movement “to children, Mimie and Jean learnt piano, and startling contrast in ANAM’s opening ending is The Fairy Garden, one of Ravel’s all the world’s children, in all their one Sunday afternoon in 1908, Ravel concert for 2012. most glorious creations. As in all good fairy innocence”. The voices in this case will arrived with a duet, the magical Pavane of tales, there is no mawkish sentimentality, come from three members of Young Voices Maurice Ravel, unmarried and short of the Sleeping Beauty, which he had written only genuine enchantment mingled with of Melbourne. stature, was often noted to prefer the specially for them. More pieces inspired by some danger and anxiety. The audience at company of children to adults, behaviour classic French fairy tales followed until, in Dutilleux says of The Shadows of Time that ANAM’s Opening Concert will have the rare which no doubt would raise eyebrows 1910, he had formed a suite of five, which it alludes to “timeless images or distant opportunity to appreciate fully the wonders today. But there was no sinister motive at he titled Ma mère l’oye (Mother Goose). events whose intensity, in spite of the of Ravel’s alchemy, when the orchestral suite work in Ravel, who simply loved the world Ravel hoped that Mimie and Jean would imprint of time, has never ceased to haunt is followed by a selection of the pieces in of childhood, and maintained a fascination give the premiere performance, but Mimie, me.” With its unforgettable opening, in their original piano duet form. for fairy tales and mechanical toys his now 10, had doubts: which we hear the inexorable ticking of whole life. This was no sentimental Henri Dutilleux is regarded by many to be some gigantic clock, and its ghosts that “…neither my brother nor I was of an age preoccupation. For Ravel, the appeal of Ravel’s musical successor. A slow but whisper to us from Dutilleux’s memory, The to appreciate such a dedication and we childhood lay in the intensity and freshness painstaking worker, he was for many years Shadows of Time is a work which has the regarded it rather as something entailing of experience that children have, but which overshadowed to some extent by the much power to haunt its listeners. It will receive hard work. Ravel wanted us to give the first adults all too quickly lose. more prolific Olivier Messiaen. Now aged 96, its long overdue Australian premiere under public performance but the idea fill me with with a handful of masterpieces composed Portuguese conductor Joana Carneiro. In the early 1900s he became friends with a cold terror. My brother, being less timid over the last 60-odd years to his credit, he is Cyprian (Cipi) and Ida Godebska, patrons and more gifted on the piano, coped quite receiving the international celebrity that has and supporters of the avant-garde, whose well. But despite lessons from Ravel I used long been his due. As Alan Gilbert, Music weekly salon drew a roll call of Paris’s best to freeze to such an extent that the idea 2012 Opening Concert Director of the New York Philharmonic, said and brightest: Diaghilev, Nijinsky, had to be abandoned.” to the wheelchair-bound composer when Fri 2 March, 7pm Stravinsky, Gide and Cocteau were just Ravel was nevertheless determined that his chatting with him at a recent recording R avel Ma Mère l’Oye: 5 pièces engantines some of the luminaries who might regularly evocation of childhood, with its session, “For us, you are the most important (for orchestra) ring the Godebska’s doorbell on a Sunday enchantments, dreams and anxieties, composer in the world right now”. Messian Visions de l’Amen evening. The Godebskas had two young should be presented to the public by (selected movements, two pianos) children, Mimie and Jean. Ravel loved He is also, like Ravel, childless (although children, and so it was. In 1910 Mother Marais Sonnerie de Ste Geneviève telling them stories, as Mimie was to recall married since 1946), a fact he regrets. But Goose was premiered by two slightly older du Mont de Paris in 1938: Dutilleux places children at the centre of his children, Jeanne Leleu, 11 and Geneviève Dutilleux The Shadows of Time 1991 work, The Shadows of Time. The “There are few of my childhood memories Durony, 14 at the inaugural concert of the (Australian Premiere) contrast with Ravel’s vision of childhood in which Ravel does not find a place. Of all Société Musicale Indépendente, a society could not be starker, for here children my parents’ friends I had a predilection for Ravel himself had helped form for the Joana Carneiro conductor confront us with unanswered questions from Ravel because he used to tell me stories presentation of new works. The following ANAM Faculty the diary of Anne Frank: ‘Why us? Why the that I loved. I used to climb on his knee and year he created a version of the suite for ANAM Orchestra and Musicians star?’ The star, of course, is the yellow Star indefatigably he would begin, ‘Once upon a orchestra, and later expanded it into a of David which Anne Frank and her family Tickets time . . .’ And it would be Laideronnette or ballet. were obliged to wear as Jews following the Free Beauty and the Beast or, especially, the Ma mère l’oye is Ravel’s musical picture Nazi occupation of Amsterdam. Intoned by Bookings adventures of a poor mouse that he made book. We see the Beast transformed children’s voices against a calm orchestral essential (03) 9645 7911 up for me. I used to laugh uproariously at Dale Brltropa Australian-born violinist Dale Barltrop, I’ve now developed (and continue to Concertmaster of the Vancouver develop) my own individual style, Preucil Symphony Orchestra, returns home to has been my single biggest influence in the direct orchestral and chamber concerts for world of orchestral leadership. The the Australian National Academy of Music. essence of his style, above all else, Dale recently took time to answer a few is his ability to connect with the musicians questions for us. of his orchestra, in the same way one would expect the first violinist of a string You grew up and attended school in the quartet to do. Not surprisingly, Preucil was outer Brisbane suburb of Ferny Grove. the first violinist of the legendary Cleveland What musical opportunities were available Quartet for many years prior to his to you there? appointment to the orchestra (check out Ferny Grove State High School, in the outer their Beethoven cycle). north western suburbs of Brisbane, has You will be playing mostly French works actually produced quite a number of here at ANAM, and I notice your own professional musicians over the years repertoire also includes Ravel’s Sonata. including Matthew Rigby, violinist and Do you think French music requires a ANAM alumnus. I feel very lucky to have particular approach, or even a particular grown up in a school district that was very sound? active in the arts... and it still is. Ferny Grove has recently won awards in When I was a student, one of the Queensland for their innovative approach comments I heard repeatedly from my to music education. Name me another teachers was that my sound was too state school in Australia that has a sizeable “French”! At the time, I didn’t see what was boys choir! I definitely cut my teeth as an so bad about that, but eventually I came to orchestra leader in school there... we even realize that too much of a good thing isn’t had an unconducted chamber string really a good thing any more. French music ensemble that I had the opportunity to is intoxicating and full of colour, texture and lead, which gave me my first taste of imagery. It should also be wildly directing. It was a great environment to be contrasting, sometimes from moment to a musician - the music department moment, and so it is important to cultivate became my community and my haven! a wide palette of tonal varieties that can bring the music to life. The finest gradations You took a huge leap of courage moving to of bow speed and vibrato can make a the University of Maryland to pursue world of difference in this musical tertiary studies there, rather than at home. language. When you got there, you helped form the campus’ first chamber orchestra. What One of the works you will direct for ANAM sort of repertoire were you most keen to is Dutilleux’s Mystère de l’instant. What work on at that stage? particular challenges does it present? I remember being pretty bummed about Dutilleux is one of the great modernist the fact that there was no chamber French composers, and although his orchestra at my university. As much as I output is relatively small, the quality of his loved symphonic repertoire, it was the music is exceptionally high. This is an chamber orchestra medium that really incredible work: a series of 10 short excited me. Along with my close friend, we movements or meditations on the art of were able to motivate a wonderful group of musical creation. It does present some students to give of their time freely to significant challenges in terms of its create something that was really special. rhythmic complexity and utterly extreme Our very first program was Dvorak’s sound worlds that will require intense Serenade for Strings, Copland’s control, concentration and above all, a high Appalachian Spring (original version for 13 level of communication and trust among instruments) and Mozart’s Symphony No. the performers. It will, I’m sure, be a richly 25 (the “little” G minor). rewarding undertaking for all of us. After Maryland, you undertook a Master’s Degree at the Cleveland Institute under the D ale Barltop Directs supervision of William Preucil. You were Thu 5 April, 7pm able to observe him in his role as D ebussy Prèlude à l’après-midi d’un faune Concertmaster of the Cleveland Orchestra. Ravel Le tombeau de Couperin What habits or practices have you picked Dutilleux Mystère de l’instant up from him? Bizet Sympohony in C My year in Cleveland was galvanizing in many respects, but particularly so in Dale Barltrop violin/director exposing me to one of the greatest ANAM Orchestra orchestras in the world. Some of the Tickets concerts I attended were, to this day, the $50 Full $35 Sen $25 Conc most memorable orchestral performances I’ve ever experienced. William Preucil’s Bookings leadership was a revelation to me. Never anam.com.au (03) 9645 7911 before had I observed a concertmaster This performance is part of the Director’s Choice who was able to single-handedly bring an Concert Package orchestra to life the way he did. His Australian Voices is ANAM’s exploration of music presence, body language, communication by Australians, past and present. So far, this series skills and timing (to mention nothing of has proven that use of the plural ‘voices’ is well advised, as each composer selected has a totally violinistic ability) were so effective that it unique sound and sensibility. was clearly a different orchestra when he was absent. Although I’d like to think that His first teacher was his mother. In 1901, still, in some ways, to “find itself”. Mr Boyle aged 15, he went to noted teacher thinks and writes in modern idioms. The Sydney Moss. The ambitious teenager was manner of the modern French school has The soon embarked on an exhaustive concert not escaped his notice entirely, though his tour, performing in over 280 towns and music is by no means cast in its formulas… cities in Australia and . The Mr Boyle has real musical ideas that he has funds accumulated enabled him to further expressed with skill in this concerto. His his studies overseas, and between 1905 harmonic treatment of them is wholly adventures and 1910 he studied under the legendary modern in feeling, sometimes courting , universally regarded as dissonance, sometimes hinting at the one of the greatest pianists of all time. characteristic intervals and progressions George continued to concertize throughoutthat have come out of Paris. But the music of George: Europe during this period, and also began has an individual stamp and is far removed to compose, mainly for piano. from the commonplace…both the composer and the player were warmly In 1910 he reached the United States and applauded and several times recalled. A n AuSTRALIAN in Baltimore soon found a position with the piano faculty of the Peabody Institute, Baltimore. George Boyle moved on to teaching A ustralian Voices By this time Boyle, following the examples positions at the famed Curtis Institute and George Boyle curated of Busoni and Rachmaninov, was devoting New York’s Institute of Musical Art (now by Timothy Young more of his energies to composition. His known as the Juilliard), but continued to Tue 3 April, 6pm made its debut in New Yorkcompose. His works were performed by on February 9, 1912. The reviewer for the several leading pianists of the day, Boyle Sonata for viola and piano New York Times wrote: including Wilhelm Backhaus. A few Boyle Suite for two pianos generations later, another Australian A new concerto for piano appears rarely on Boyle Ballade for piano pianist, Timothy Young, has rediscovered the programmes of the orchestral concerts the music of George Boyle and will share Timothy Young piano of the present time, and such an his discovery with Melburnians as part of ANAM Musicians appearance, as was made at the ANAM’s Australian Voices series. Philharmonic Society’s concert last Venue evening, is of more than passing note. The Salon, Melbourne Recital Centre concerto was by George Frederick Boyle, a Tickets young Australian, and was played by $25 Full $15 Conc Ernest Hutcheson, also an Australian. Both ANAMates 15% discount live now in Baltimore, where they are of the Bookings Faculty of the Peabody Institute…Mr melbournerecital.com.au Boyle’s name was hitherto strange to the (03) 9699 3333 New York public, though he has composed industriously. His concerto is an interesting Presented in association with composition, showing unquestionably the Melbourne Recital Centre talent and originality, though the talent has Hwo Nigel Ran Away to Join the Circus… (nda what happened next)

Nigel Westlake is an Australian Voice of our Children of the Revolution are just the tip of than a month (in Vine’s case his extraordinary own time. He began his musical life as a a large iceberg (he also composed the 2nd Sonata). This was Nigel’s first piece for performer, learning the clarinet from his highly evocative score for IMAX’s piano and is astonishing in its range, scope father Donald, Principal Clarinet for the Antarctica). But Westlake’s output and and understanding of the instrument. I used to Sydney Symphony Orchestra. At 17, young reputation have been steadily widening for go over to his place (as I did with Carl) to listen Nigel already had the chops to play bass years, and his catalogue now includes over to the next thrilling instalment of the piece as it clarinet for the SSO in The Rite of Spring. forty chamber and orchestral works. The progressed, wondering how the hell I was Choosing the path of practical experience most recent major addition, his Missa going to play it. An extremely modest man, over academia, Nigel left school early and Solis, is a powerful requiem for his son Eli Nigel kept asking me if what he’d written was was soon earning his crust as a jobbing who was tragically killed by a motorist in good enough - I left his house unable to musician, playing for radio, film and TV 2008. Premiered to acclaim last year by the contain my excitement at the prospect of sessions. Catching the wave of Australia’s Melbourne Symphony Orchestra, the practising it, let alone giving the premiere circus renaissance, he joined the band for Missa Solis will receive further performance. The Flying Fruit Fly Circus. performances in Melbourne on Friday 2 March. And, in the same month, A ustralian Voices At his mum’s suggestion, he applied for a Melburnians will be able to hear some of place in the first ever film and TV music Nigel Westlake curated Westlake’s chamber and solo works as course at the Australian Film Television and by Matthew Hoy part of ANAM’s Australian Voices series. A Radio School, an eight week intensive in highlight of this concert will be his Tue 13 March, 6pm the craft of matching sound to image. This spectacular Piano Sonata No. 1, performed Westlake Rare Sugar was his springboard into a career as a film by , who Westlake Tall Tales But True and TV composer, honing his musical skills commissioned it for the 1998 Sydney Westlake Piano Sonata No. 1 to the demands of a scripted scenario, not Festival. It was Westlake’s first work for Westlake High Tension Wires to mention a tight budget. Little wonder piano and made a stunning impact. that Westlake’s music is never dull. From Michael recalls: Matthew Hoy cello/director the start, composition was for him no Michael Kieran Harvey piano academic exercise, but a vital amplification I had known Nigel since his days in the ANAM Musicians of atmosphere and action. Westlake Zappa-inspired Magic Puddin’ band in describes himself as largely self-taught, Sydney and had always hugely admired Venue and one can see why: he learnt the craft of him as a musician and person. When I was Salon, Melbourne Recital Centre composition on the job, writing to a asked to present a mixed-media show Tickets deadline for clients. It was only after a few (called Kazohinia) for the 1998 Sydney $25 Full $15 Conc years of this experience that he finally Festival I decided to commission large ANAMates receive a 15% discount undertook some formal tuition in works from several composers, one of Bookings composition in the Netherlands. whom failed to deliver, leaving a 40 minute Melbournerecitalcentre.com.au gap in the program. In desperation I turned Today he is still best known as a film (03) 9699 3333 to two friends, Nigel Westlake and Carl composer, with many hit movie titles and Vine, who wrote sonatas for me in less Presented in association with the Melbourne Recital Centre awards to his credit: Babe, Miss Potter, FEBRUARY Yuro Guide Sun Mon Tue Wed Thu Fri Sat 12 13 14 15 16 17 18 11.30am to ANAM’s Mostly Mozart 19 20 21 22 23 24 25 entsve 26 27 28 29 M usic matters at ANAM and it takes a loyal Start of term 1 audience to take it from the practice room to the concert hall. Here are just some of the ways youcan engage more fully MARCH with our students and their music-making. Sun Mon Tue Wed Thu Fri Sat A NAMates Membership Masterclasses 1 2 3 An opportunity to engage with our Each year ANAM welcomes 2012 Opening Concert 7pm students in a more extensive and distinguished Australian and international affordable way with free entry to over artists to coach ANAM students in a 4 5 6 7 8 9 10 170 concerts, seminars and public forum. A fascinating opportunity In Convo masterclasses*. As an ANAMates to observe behind the scenes as these Paul Dean 3pm member, you also receive exclusive artists work with our students to 11 12 13 14 15 16 17 benefits and discounts. hone their craft. Australian Voices 6pm See anam.com.au for more information $5 Entry (ANAMates free) 18 19 20 21 22 23 24 D irector’s Choice Ino C nversation With… Sound Bite Sound Bites Concert Package A series of popular, informal seminars 6pm 1pm Selected by Artistic Director, Paul Dean, conducted by a variety of the world’s 25 26 27 28 29 30 31 the Director’s Choice Concert Package is finest artists at the peak of their careers. Sound Bite 7pm In Convo your pass to six of the best orchestral $5 Entry ANAMates free Dale Barltrop and chamber music performances in 3pm 2012. Featuring Australian and A ustralian Voices international artists side-by-side with Introduced in 2011, the Australian Voices ANAM musicians, these concerts can series celebrates the outstanding musical April be purchased as a package or as legacy our homegrown composers have single tickets. left and are indeed still creating. In Sun Mon Tue Wed Thu Fri Sat See anam.com.au for more information partnership with the Melbourne Recital 1 2 3 4 5 6 7 Centre, ANAM continues this series of Australian Voices Dale Barltrop End of term 1 Suo nd Bites chamber music performances in the 6pm Directs 7pm A series of hour-long concerts during the Salon, exploring the work of eight 8 9 10 11 12 13 14 day and early evening featuring diverse Australian composers. repertoire that showcases the talents and technical skills of ANAM musicians. Mostly Mozart ANAM musicians join forces once again 15 16 17 18 19 20 21 $5 Entry ANAMates free M’class with Orchestra Victoria to present the Louis Cortie second series of morning concerts at the piano 4pm Melbourne Recital Centre. 22 23 24 25 26 27 28 Start of term 2 M’class Alexi M’class St Improv Sound Improv Sound *visit anam.com.au for exclusions. Ogrintchouk Lawerence Bite 1pm Bite 2pm oboe 10am String Quartet In convo – Improv Sound All events take place at the South Melbourne Town Hall unless otherwise stated. 2pm Tony Gould 3pm Bite 7pm Improv Sound Bite 7pm

29 30 MRC – Melbourne Recital Centre In Convo – In Conversation With… M’Class – Masterclass

Book Locations ANAMates Membership, Australian National Academy of Music

g Director’s Choice Concert South Melbourne Town Hall Packages and tickets to 210 Bank Street, Director’s Choice Concerts South Melbourne, Victoria 3205 Online anam.com.au Administration and Box Office in Phone (03) 9645 7911 Phone (03) 9645 7911 In Person Office hours or one

ails Fax (03) 9645 7922 hour prior to each event k Email [email protected] Melbourne Recital Centre anam.com.au Online melbournerecital.com.au Melbourne Recital Centre Phone (03) 9699 3333 Southbank Boulevard, South Bank, Victoria 3006

oo Need Help? det Call ANAM (03) 9645 7911 B

E ditors Philip Lambert and Samantha Turley Design Alphabet Studio Photo Credits Pia Johnson (Paul Dean, Gladys Chua, Georgia Ioakimidis-MacDougall), (Nelson Yarwood Samantha Turley)

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