canberra international music festival 28 April – 8 May 2016

Experience the music adventure WE’RE THE MOST AWARDED REBRAND AGENCY IN THE ASIA PACIFIC principals.com.au

2 Concert Calendar Page

1 Opening Gala: Tango Tambuco 7.30 pm Friday April 29 Fitters’ Workshop 9 WE’RE 2 Fandango 1 pm Saturday April 30 Fitters’ Workshop 13 The Brodsky Quartet & Katie Noonan: 3 6 pm Saturday April 30 Fitters’ Workshop 15 With Love and Fury Il racconto di mezzanotte 4 9.30 pm Saturday April 30 Fitters’ Workshop 17 A Midnight Tale THE MOST 10 am Saturday April 30 5 Ear of the Cat 10 am Sunday May 1 Ainslie Arts Centre 19 2 pm Sunday May 1 NGA 6 Barbara Blackman’s Festival Blessing 2 pm Sunday May 1 21 AWARDED Gandel Hall 7 Petite Messe solennelle 6 pm Sunday May 1 Fitters’ Workshop 25

Sounds on Site - NGA 8 12.30 pm Monday May 2 27 REBRAND Bells and Smells Sculpture Garden 9 The Streets of Madrid 6.30 pm Monday May 2 Fitters’ Workshop 29

Sounds on Site - 10 12.30 pm Tuesday May 3 Hotel Hotel 33 AGENCY Nishi Sequenza 11 Scarlatti meets Handel meets Bach 6.30 pm Tuesday May 3 Fitters’ Workshop 37

Sounds on Site - Gorman House to 12 12.30 pm Wednesday May 4 41 IN THE ASIA Braddon’s Bread and Games Ainslie Arts Centre French Invention 13 6.30 pm Wednesday May 4 Fitters’ Workshop 43 Invention française Sounds on Site - 14 12.30 pm Thursday May 5 Garema Place 47 PACIFIC Garema Place principals.com.au 15 El Camino 6.30 pm Thursday May 5 Fitters’ Workshop 49

Sounds on Site - National 16 12.30 pm Friday May 6 53 Gardens of Delight Botanic Gardens

17 The Battle of the Sexes 7.30 pm Friday May 6 Fitters’ Workshop 55

18 Vivaldi Unseasoned 11 am Saturday May 7 Fitters’ Workshop 59

Argentina Mágica: Celebrating 19 2.30 pm Saturday May 7 Fitters’ Workshop 61 Alberto Ginastera (1916-1983)

20 Twilight 5.30 pm Saturday May 7 Fitters’ Workshop 65

The Chocolate Factory - 21 11 am Sunday May 8 Fitters’ Workshop 67 A Family Concert NGA 22 Mexican Wave 2 pm Sunday May 8 69 Gandel Hall

23 Festival Finale: Viva Brasil! 6 pm Sunday May 8 Fitters’ Workshop 71

1 TALK OF THE TOWN SERIES In association with Ainslie and Gorman Arts Centres Ainslie Arts Centre 10.30am 65 mins.

Friday 29 April Meet Forma Antiqva Wednesday 4 May Roland Peelman in conversation with Meet José María Gallardo del Rey and Aarón, Daniel and Pablo Zapico Gerard Brophy With the assistance of the Embassy of Spain Dan Sloss in conversation with guitarist and Acción Cultural Española José María Gallardo del Rey and Composer-in-Residence Gerard Brophy Monday 2 May With the assistance of the Embassy of Spain Marco Beasley: talk and masterclass and Acción Cultural Española Tenor Marco Beasley works with singers from the ANU, The Song Company and Thursday 5 May Festival Young Artists to reveal the art of Meet Nadia Ratsimandresy and the ondes recitar cantando, with the Zapico brothers Martenot (Forma Antiqva) providing continuo; Natalie Williams from the School of introduced by Joseph Falcone, Director of Music, ANU, in conversation with Nadia the Gorman Arts Centre Ratsimandresy, ondes Martenot virtuoso, With the assistance of the Embassy of Italy and composer Konstanin Koukias and the Italian Cultural Institute with the assistance of the Embassy of France Tuesday 3 May Friday 6 May Meet the Boccherini Trio Meet Eugene Ughetti and Ricardo Gallardo Liz McKenzie in conversation with violinist Roland Peelman in conversation with Suyeon Kang, violist Florian Peelman and Eugene Ughetti, Artistic Director of Speak cellist Paolo Bonomini Percussion, and Ricardo Gallardo, Artistic Director of the Tambuco Percussion Ensemble. with the assistance of the Embassy of Mexico

2 Thursday 5 MAY

In association with Bungendore Wood Works Gallery, Eden Road Wines and Poachers Pantry Poacher's Way Festival Trip

Bungendore Wood Works Gallery Heitor Villa Lobos 1887-1959 Preludes 1, 3 and 5 Choro No. 1

Andrey Lebedev guitar

Eden Road Wines

Carlos Salzedo 1885-1961 Ballade Op. 28 Jolly Piper, Concert Fantasy on the theme of the Sailor's Hornpipe

Alice Giles harp

Poachers Pantry Carl Nielsen 1865-1931 Wind Quintet Op. 43 Allegro ben moderato Praeludium Tema con variazioni

Kim Falconer flute

Edward Wang oboe

Magdalenna Krstevska clarinet

Justin Sun bassoon

James Bradley horn

This Event is supported by ANNA & BOB PROSSER Andrey Lebedev is supported by Muriel Wilkinson & June Gordon

3 Message from Message from ACT Chief Minister Festival Patrons, Andrew Barr MLA Major General the Hon. Michael Jeffery and Mrs Marlena Jeffery

It gives me great pleasure to welcome you to One of the great joys of autumn that Marlena the Canberra International Music Festival. and I look forward to each year is our nationally Now in its 22nd year, the festival will once again recognised Canberra International Music fill the city’s most iconic public places with Festival. world-class music. A prominent feature in Set in some of Canberra’s iconic venues and Canberra’s events calendar, the festival helps show-casing our own local talent, the Festival confirm Canberra’s position as one of the has grown over 22 years to attract renowned world’s coolest little capitals. musicians from all around Australia and This year, the festival’s Artistic Director Roland overseas. Peelman has created a program that focusses For 10 wonderful days and nights, Canberrans on Latin music. Canberrans will hear some of are treated to inspirational programs mixing the best guitarists, singers and percussionists great classical music that is familiar to us with from Spain and Italy, Mexico and Argentina – not exciting lesser-known works. to mention Belgium, France, Germany and the Young Australian musicians come to learn from UK – who will join many of our own musicians. and perform alongside international artists. The Sounds on Site series will be scattered And although each year it grows in reputation, around the city, allowing the festival to be the festival retains the intimate feeling of being complemented by some of the food and wine community based. offerings in the Canberra region. We’ve been pleased to have sponsored I am delighted to extend a warm welcome to all concerts over the years, and we are honoured the musicians who have travelled to be part of to have been asked to become patrons of the the Festival and I wish you every success for the Canberra International Music Festival. next ten days.

Andrew Barr Michael and Marlena Jeffery

4 Music and Migration by Roland Peelman Last year the world witnessed the largest proud to have it bounce off some pillars of wave of immigration since the end of WWII. Western heritage such as Scarlatti. As we know, An estimated 1.2 million people crossed the the sounds of non-Western instruments has Mediterranean, often in the most desperate had as profound an influence on contemporary and perilous ways, to seek a safe haven in music-making as the period instruments that led Europe. It remains unclear how many will the historic research into the music of the past. remain in Europe, but the circumstances of this Let us briefly look into our European mass exodus are well known, and reach beyond musical past. Roman imperialism and early the conflict in Syria. All European countries Christian evangelisation went hand in hand in affected by this crisis are wavering between disseminating a musical style that originated humanitarian goodwill and protectionist fear. in the Middle East. Constantinople and Rome The anti-emigration agenda ranges from the served as the conduits, but the rites and chants shrillest level of bigotry to an endemic fear of represented a mix of Jewish and Hellenistic change – all the way to a genuine dread for loss traditions , whilst adventure and missionary of national cultural identity. The other side of zeal turned Lives of the Saints into the first the argument is driven by human decency and European travel blogs. The great wave of humanitarian refugee policies sprinkled with migration that contributed to the collapse of economic opportunism. the Roman Empire laid the foundations for Yet many Western European countries have a broad variety of regional cultures that still absorbed immigrants from North Africa, central characterise the European continent, from Africa, Asia and Latin America for decades. Most Portugal to Scandinavia. The subsequent major European cities are thriving communities, rise of Islam brought the trade with Africa to colourful and creative hubs, precisely because a temporary standstill with the exception of of the multicultural mix, including the fresh input Naples. But soon enough two new routes were of families from the Middle East. In my home carved to Jerusalem: one, the Crusaders’ most country of Belgium, the venerated classical direct itinerary through Constantinople; the Flanders Ballet last year appointed as its new other, a longer route through extended Muslim Artistic Director Sidi Larbi Cherkaoui, the son territory via Spain and Alexandria. This is the of a Moroccan immigrant and a collaborative time of the first European epics, a flowering of artist of extraordinary reach. On a broader poetry and song, driven by travelling knights musical scale, the global phenomenon called and minstrels in a cultural environment that ‘world music' would never have occurred circles around the Mediterranean and owes as without the strong underpinning of significant much to Arab scholarly refinement as it does to communities from India, Africa or the Middle Christian values. Marco Beasley gives us a fine East in Western societies. Here in Australia, we taste of this rich and complex world in his solo have no better example than the genre-hopping performance ‘A Midnight Tale’. Tasso’s late 16th riffs of Joseph Tawadros on the oud – a nimble, century epic Gerusalemme liberata (Jerusalem appealing fusion of Western and middle Eastern Freed) is a humanistic, fictional recreation of traditions that defies easy labelling. Tawadros’ this European episode – and a treasure trove instrument, his craft and his initial training all of juicy stories for opera writers. Monteverdi’s stem from Egypt. The contemporary energy he masterful 'Combattimento' from 1624 is one of has generated is typical for a first generation the first theatre works drawn from Tasso’s epic immigrant. This year’s festival is particularly – and by far the most dramatically compact.

5 For centuries the Arab world was held at bay By the beginning of the 17th century, all musical through regular naval battles whilst Muslims innovations such as opera, oratorio and later were gradually driven out of Spain. Europe, on the ‘concerto’ practice, stemmed from Italy.

though riddled with territorial conflicts, religious Italian composers exerted influence in places warfare, marriage politics, regular epidemics, as far afield as Warsaw, Prague or Madrid. The had become a hub of activity, enterprise Neapolitan Domenico Scarlatti became one and mobility. Almost all European centres of the leading figures in 18th century Madrid. A depended on musical talent from elsewhere, generation later, his fellow countryman Luigi and most prided themselves on being able Boccherini also found himself in Spain, at the to secure the most sought-after composers. same time that his contemporary Mozart was And so it was that for much of the 15th and 16th spending a couple of years of obligatory Italian century Flanders acted as a musical nursery training with Padre Martini and others. We for the rest of Europe. The Italian Renaissance should not forget that well into the 20th century schools of Venice, Florence, Mantua, Ferrara young French musicians were sent to Rome would be unthinkable without the input of to complete their formation under the much Josquin, Willaert, de Wert, de Rore and many covetted Prix de Rome scheme. others. Central European centres such as But a much greater wave of emigration was Munich and Prague flourished under Lassus and unleashed in the wake of Columbus’ expedition de Monte. The skills they brought along proved in 1492 and the discovery of America. The indispensible for later Baroque musicians such ensuing large scale colonisation combined as Bach or Handel. with the slave trade from Africa arguably In turn, Italian composers provided new impetus had the most profound effect on the face for the London arts scene of Shakespeare’s and sound of our modern world. Initially, the day. The British court would remain a pole of Spanish missionaries counted many musicians attraction for many foreigners, a certain G. F. amongst their numbers, which explains why Handel being the most prominent and most musicologists will be occupied for at least ensconced. The favourite and most powerful another hundred years trailing through the composer under Louis XIV was the Italian G.B. libraries of Latin American churches. What is Lulli, aka J.B. Lully. He put his stamp on opera clear from contemporary research is how early in France, and well into the 19th century Paris there are signs of indigenous linguistic and opera continued to roll out the carpet for Italian percussive elements infiltrating the imported composers. It was to the Paris salons that Spanish forms, starting a protracted process of Rossini ‘retired’. transformation into the many styles and genres

6 that we now recognise as intrinsically Latin- grooves and harmonies into the mainstream American or ‘latino’: salsa, samba, bossa nova, of the global entertainment industry. Argentina cumbia, mariachi and all the rest of it. is a different case again: there, large scale immigration did not take place until the 19th The crucial and most characteristic factor in century. Political and economic pressures some of these genres, nevertheless, is the black in Europe turned Argentina into the most African ancestry, the result of four centuries of European-flavoured nation in Latin America. By mass deportation. This fact also explains why so the year 1900, one third of its population was much of what we now consider Latin American Italian. The combination with Irish, German, music only started to emerge in the 19th century. Jewish and other groups of immigrants Black people, an estimated 12 million of them created a most peculiar and characteristically predominantly from West-African nations, had Argentinian phenomenon. Emerging from been traded as commodities and relegated the brothels and clubs of Buenas Aires and to a de facto sub-class, effectively barring Montevideo, it became ‘tango’, a force for them from active social participation on any cultural renewal as well as social cohesion. level. What eventually emerged is fascinating on a musical level, but also as a social Driven by political oppression, economic phenomenon, since a culture of oppression hardship, climate change or sheer hunger, people and disempowerment turned into a vibrant and will move and migrate if they must. Sponsored sometimes militantly potent mix. immigration programs in the mid-20th century further facilited the move of people from Italy, Three Latin-American countries, Mexico, Greece and Eastern Europe to America and Brazil and Argentina, are featured in this year’s Australia. The world, for better or worse, is a festival. Mexico has a very small proportion broad mixing pot, confused at times and often of people with African origins, but created at sea when trying to deal with the complexity of an identity out of mestizo (halfcast) culture. an increasingly educated, informed, connected Over the last fifty years, millions of Mexicans demography. But declining populations, averse have found a new home in the US, legally and to immigration, inevitably find themselves on illegally. They have well and truly conquered the losing side of history. And there is no doubt the kitchens across the USA. Their voice is that our future will be more defined by succesful heard in elections, and their brand of music forms of cross pollination rather than by an is bound to have a lasting effect in years to outmoded sense of purity. Where would we be come. Brazil, on the other hand, has a very large without our Italian coffee or Lebanese sweets or black population. A generation of outstanding Greek barbecues? And above all, what would we song writers and musicians known under the listen to? ‘tropicalismo’ banner have brought Brazilian Roland Peelman 2016

The position of artistic director is supported by Anna & Bob Prosser 7 The CANBERRA INTERNATIONAL MUSIC FESTIVAL and the CANBERRA GLASSWORKS present Smokestack Piano by Ken Unsworth

One of Australia’s most iconic artists, Ken Unsworth is well represented in all major galleries in Australia. His ongoing obsession with pianos, stones and large scale theatrical installations has earned him a place on the international stage. Ken’s latest work is a baby grand piano with glass tentacles (sound bubbles made at the Canberra Glassworks) and is alive with light. On display in the Smokestack of the Canberra Glassworks, next to Fitters’ Workshop, the Festival is featuring a series of exclusive 10-minute recitals not to be missed.

Pianists: Jacob Abela, Aaron Chew, Roland Peelman and Sally Whitwell

SESSIONS

Friday 29 April 6.30 pm Roland Peelman 7 pm Aaron Chew 3 pm Roland Peelman 3.30 pm Aaron Chew Saturday 30 April 5 pm Aaron Chew 5.30 pm Aaron Chew 3 pm Roland Peelman 3.30 pm Roland Peelman Sunday May 1 5 pm Aaron Chew 5.30 pm Aaron Chew Friday May 6 6.30 pm Roland Peelman 7 pm Jacob Abela 10 am Jacob Abela 10.30 am Jacob Abela Saturday May 7 4.30 pm Sally Whitwell 5 pm Sally Whitwell 10 am Jacob Abela 10.30 am Jacob Abela Sunday May 8 4.30 pm Sally Whitwell 5 pm Sally Whitwell

TICKETS can be booked through the CIMF website at cimf.org.au

8 Friday 29 APRIL

THE EMBASSY OF MEXICO presents co-sponsored by the Embassy of Argentina CONCERT 1 opening GALA - Tango Tambuco

J.S. Bach 1685-1750 Gerard Brophy FITTERS' Prelude, Fugue and Allegro BWV Dervish (Beaver Blaze 2015) WP WORKSHOP 998 Commissioned by Betty Beaver 7.30pm 120 mins J.S. Bach 1685-1750 Gerard Brophy b 1953 Contrapunctus I and IX from Vox Angelica for percussion and The Art of Fugue BWV 1080 string quartet (1993) James Crabb accordion Rohan Dasika double bass Héctor Infanzón b. 1957 1921-1992 Astor Piazzolla Andrey Lebedev guitar Hematofonía Tango selection arranged by Anna McMichael violin J. Crabb: Javier Álvarez b. 1956 Kicho Tambuco Percussion Ricardo Gallardo Metro Chabacano Oblivion Alfredo Bringas Three Tango Sensations: Miguel González Mario Lavista b. 1943 Anxiety Raúl Tudón Danza Isoritmica Asleep Fear Boccherini Trio INTERVAL Suyeon Kang violin Florian Peelman viola Paolo Bonomini cello

This concert is supported by CATHERINE AND CHRIS MURPHY Boccherini Trio is supported by Carolyn Philpot Andrey Lebedev is supported by Muriel Wilkinson and June Gordon James Crabb is supported by Lyndall HatcH WP – world premiere 9 Tango in a nutshell gut-strung lute-harpsichords (30 rt). There is evidence that he ran an instrument rental Tango in the 21st century is a global business. His enormous collection of scores phenomenon. Cities as far apart as Medellín had been divided between Wilhelm Friedemann (Colombia) and Istanbul (Turkey) claim and Carl Phillip Emmanuel, his elder sons. a tango scene as lively as Buenos Aires. But the origins of tango lie in the working- His eyesight had not been good for a while, class neighbourhoods of Buenos Aires and his death is generally attributed to the and Montevideo, where an unusually large consequences of two failed eye operations. proportion of immigrants from Italy, Germany Yet his last completed works were no small and other European countries developed matter: the monumental B Minor Mass and The the genre drawing on an early mix of Spanish Art of the Fugue, a grand series of 18 fugues dances infused with African characteristics. on a simple theme, an abstract monument of Towards the end of the 19th century the typical pure music , whatever instrument it is played tango band settled around guitar, piano, on. Tonight you are hearing two of the fugues violin, flute, eventually replaced by bass played on marimba, an instrument that did not and bandoneón which more than any other even exist in Bach’s day. instrument has defined its sound. Its macho By the mid-1740s, Bach had also completed a aggressive style had as much to do with the number of keyboard works, most notably the gangster and brothel scene where the music Goldberg Variations and the Second Book of thrived as with the disproportionate amount the Well Tempered Clavier. A few miscellaneous of men vs. women. When young Carlos Gardel and disputed works have to be seen in the recorded his first song in 1917 he heralded a context of providing for instruments beyond new epoque for the tango. As singer and suave the common keyboards and string instruments sex symbol, he brought the genre respectability of the time. as well international prominence. In the wake of the Gardel era, the four representative The theory that Bach mastered and wrote solo schools of the Argentine tango music are Di works for the lute emerged some time in the 19th Sarli, d'Arienzo, Troilo and Pugliese, all four century as a dissenting opinion from the first big descendent from Italian immigrant families. Bach edition. The idea gained more currency when it seemed to be endorsed by Albert Well after WW2, Astor Piazzolla, another Schweitzer, and so it was that Andres Segovia descendant from Italians, brought the started playing these pieces on the guitar in the genre onto the concert stage and turned his 1920s. Ever since, various arrangements and compositional prowess to its form and its transpositions have found their way into the sound. The modern sophisticated version of repertoire. the tango that he promoted is generally referred to as Tango nuevo and has been deeply Bach’s last and most sophisticated work for the influential. The latest forms of tango fused with lute-harpsichord is BWV 998 (Prelude, Fugue jazz and electronic pop devices are known as and Allegro in E flat) from the mid-1740s. A Neotango. hand, clearly other than Bach’s, added the title “Prelude pour la Lute ó Cembal” , a strange Bach’s ultima manera mixture of fractured French, German and When JS Bach died, a list of his household Italian. The piece has an interesting wrinkle: goods and valuables included, amongst running out of paper, Bach finished the last bars other things, a teapot, 52 sacred books, a in keyboard tablature. lute (valuable, at 21 reichsthaler), violins, 3 Roland Peelman 2016 harpsichords (one of them 80 rt) and two

10 Music in Mexico or Chávez’ Indian Symphony or Moncayo’s Huapango have defined much of what has To try and reduce the complexity and diversity happened since. The main figures are Mario of Mexican music in a short article seems Lavista and younger composers whose work futile. For one, the country counts no less than has travelled well beyond Mexico’s borders: Ana 25 million indigenous people representing Lara, Gabriela Ortíz, Javier Alvarez, Daniel Catán 89 distinct language groups. Secondly, the and Arturo Márquez. colonisation of Mexico in the 16th and 17th centuries makes for fascinating, often shocking To this day, the most colourful way of enjoying reading, indispensable though in order to music in Mexico does not require an A-reserve understand the way Spanish culture took root balcony seat. Whether it is mariachi in Jalisco, in the cities and villages across this very large son jorocho in Vera Cruz, Norteña in Monterey, country. Needless to say, the scale and sheer cumbia in Mexico City, or any old ‘son’ complete brutality of wholesale evangilisation combined with communal dancing, it emanates from the with military subjugation created the foundation streets. Blessed with a lovely climate and a happy for a deeply divided social structure. Thirdly, disposition, Mexico’s magic has no price-tag. political independence sparked by the priest Roland Peelman 2016 Hidalgo’s ‘Grito’ or ‘Cry”, followed by American- style liberalism and a wave of early 20th century Vox Angelica (1993) revolutions left a chequered trail of secularism, The idea of writing a work for such an unlikely line violence, old-style socialism and wild-west up of instruments came from my dear friend, the capitalism. In a nutshell, the social landscape is Dutch percussionist Wim Vos. The delightfully as complicatedas the geography. To this day, a subversive prospect of reversing the roles of the chasm remains between popular culture and instruments, i.e., getting the hitting instruments high art reflecting an entrenched and extreme to caress and the caressing instruments to income disparity. In the middle of Mexico City, hit, greatly appealed to me. It was also an a metropolis created out of the rubble of the opportunity to include instruments from non- ancient Mayan temples, stands Mexico’s prize Western cultures, hence the inclusion of the Thai cultural possession, the Palacio de Bellas Artes, gongs. In fact, this was one of the first tentative impressively designed and built to match Palais steps that I would take which would lead me in Garnier or Royal Albert Hall. Not far away stands the direction of an aesthetic far removed from the equally vast Cathedral of the Assumption, the canon of Western art music. precariously leaning over, ready to collapse at However, a few decades later, the work is the next major earthquake. also a melancholic reminder of the halcyon Yet, for all its calamities and endemic problems, days of Dutch musical life. Sadly, this once the country has produced remarkable painters, vital and stimulating culture has fallen victim filmmakers, first rate writers and musicians. to a numbing array of byzantine political In the wake of the revolution, a great sense of machinations that presaged the current era of pride, defiance even, motivated musicians such neo-philistinism in the country. as Carlos Chávez and Silvestre Revueltas to Vox Angelica was commissioned by bring Mexico into the modern era and do so with the Mondriaan String Quartet and the music that reflects the many layers and mixed Slagwerkgroep Den Haag for their tour in traditions of its people, Spanish, European the autumn of 1993. It is dedicated both to and indigenous. They stood at the cradle them and to tonight's performers, with great of Mexico’s first orchestras, broadcasting fondness and affection. institutions and left an impressive legacy. Works such as Revueltas’ Night of the Mayas, Gerard Brophy 2016

11 ACT REPRESENTATIVE

18 Salamander Court, Phillip ACT 2606 Ph. Rudi Zarka on 02 6282 3199 or Email: [email protected] National Informatio12n Line 1300 199 589 Saturday 29 april

ACCIÓN CULTURAL ESPAÑOLA and the EMBASSY OF SPAIN present concert 2 FANDANGO

José Blasco de Nebra Giovanni Girolamo FITTERS' 1702-1768 Kapsperger c. 1580-1651 WORKSHOP Fandango de España Passacaglia 1.00pm Santiago de Murcia 1673-1739 Improvisaciones sobre 75 mins Fandango Caponas y Chaconas

Gaspar Sanz 1640-1710 Santiago de Murcia Marionas Cumbees Forma Antiqva Anónimo Anónimo Aarón Zapico harpsichord Daniel Zapico theorbo ed. Antonio Martín y Coll 1709 ed. Antonio Martín y Coll Pablo Zapico baroque guitar Xácara Diferencias sobre las Folías The Song Company Richard Black tenor Santiago de Murcia Santiago de Murcia Mark Donnelly baritone Grabe & Allegro Los Impossibles Anna Fraser soprano Conte Ludovico Roncalli Anónimo Hannah Fraser mezzo th fl. 17 c. ed. Francisco Tejada, 1721 Susannah Lawergren soprano Preludio Carretilla de Minués Andrew O’Connor bass Anónimo ed. Francisco Tejada 1721 Santiago de Murcia Favorita Folías Gallegas Domenico Scarlatti 1685-1757 Mateo Flecha 1481-1553 Fandango El fuego (from ‘Ensaladas’ Prague 1581)

This concert is supported by gail ford The Song Company is supported by Dianne & Brian Anderson 13 Spanish Fire To this day we recognise Spanish music as the kingdom of Naples, before returning to his one of the most highly flavoured musical homeland of Saragossa, where he would publish experiences in the world. Its ingredients are his Instrucción de música sobre la guitarra fascinating and ancient: religious rituals both española ('Musical Instruction Regarding the Christian and Arabic, sephardic songs, Romany Spanish Guitar'), a book that skilfully combines influx along with native regional traditions. The lessons learned in Italian lands with tendencies result is that certain instruments and genres brewed in the Spanish tradition. developed which no other country would ever The main composer in this concert however share. Take the ‘ensalada’ for example. Literally is Santiago de Murcia, a virtual unknown ‘salad’, it was defined by Juan Diaz Rengifo as until a recent spate of research uncovered “a composition with four-line stanzas in which manuscripts of his in Chili and Mexico. Further all sort of metres are mixed, not only Spanish musicological research (2008) has filled in the but some derived from other languages, with blanks of his life. We now know that de Murcia no fixed order from one to the other, following was appointed Master of Guitar as well as the poet’s whim”. For Mateo Flecha, the oldest instrument-maker to the Spanish Queen Maria represented composer in this program, it Luisa of Savoy shortly after 1702. became a more or less through-composed piece incorporating traditional fragments of In 1714 Murcia dedicated a guitar treatise to popular verse and song and closing with a Latin Jácome Francisco Andriani, a special envoy to rubric. We would probably call it a ‘medley’ now. the Catholic cantons of the Netherlands for In his musical salad, fuego or fire is the central the King of Spain. Andriani made it possible ingredient. El Fuego stands for the sins of the for Murcia to publish his guitar treatise by world in need of water, i.e. the purifying power of sponsoring the engraving of the work on Christ’s redemption. bronze plates. Although two of the surviving manuscript collections of Murcia's music – Around the same time, Spanish musicians were Passacalles y obras and Codice Saldivar No. 4 making important advances in instrumental – came to light in Mexico in modern times, they music. Alonso Mudarra (c 1510-1580) wrote were most probably taken there at a later date a significant treatise on thevihuela, while by subsequent owners. It now seems unlikely Vicente Espinel (1550-1624) is credited with that Santiago de Murcia actually travelled to the development of the four-course guitar into Mexico himself. Later in his life, in 1729, he a five-string instrument. This was the start of a signed a declaration of poverty and died in long line of Spanish guitar music that finished Madrid in 1739. with Rodrigo and de Falla in the 20th century but continued unabated in Latin America. One of the important aspects of the music of Murcia is his interest in a wide range of Meanwhile, as France was celebrating the pre-existing music for guitar, including that gamba and Italy was bringing the violin to by Spanish, French and Italian composers, perfection, Spain was under the spell of and in popular dance forms which probably plucked strings: the guitar and the vihuela in originated in Africa (rather than Mexico). Thus particular. The first theorist to write extensively the collections offer works of different styles about the artistry of the guitar was Gaspar offering a rich and varied panorama of the Sanz (1640-1710). Educated at the University baroque repertoire for guitar. of Salamanca, Sanz travelled extensively in Roland Peelman

14 Saturday 29 april

In association with the Harbour Agency, PRINCIPALS present concert 3 BRODSKY QUARTET & KATIE NOONAN WITH LOVE AND FURY

Late Spring Elena Kats-Chernin/Judith Wright FITTERS' To a Child David Hirschfelder/Judith Wright WORKSHOP Sonnet for Christmas Paul Dean/Judith Wright 6.00pm After the Visitors Andrew Ford/Judith Wright 110 mins The Surfer Katie Noonan/Judith Wright. Strings arr. by Steve Newcomb Night after Bushfire Iain Grandage/Judith Wright Brodsky Quartet Company of Lovers Paul Grabowsky/Judith Wright Ian Belton violin Paul Cassidy violin The Slope Carl Vine/Judith Wright Daniel Rowland viola Failure of Communication John Rodgers/Judith Wright Jacqueline Thomas cello Metho Drinker Richard Tognetti/Judith Wright Katie Noonan soprano INTERVAL

Australian Tryptych: From Nourlangie Peter Sculthorpe Cradle Song Andrew Ford 3 Men and a Blonde Robert Davidson My Moodswings Elvis Costello. Strings arr. by Paul Cassidy I almost had a weakness Elvis Costello/Brodksy Quartet Hyperballad Björk. Strings arr. by Paul Cassidy This project has been assisted by the Australian Government Possibly Maybe Björk. Strings arr. by Ian Belton through the Australia Council, Fragile Sting. Strings arr. by Paul Cassidy its arts funding and advisory body

This concert is supported by GAIL & BILL LUBBOCK

15 Born in Armidale, New South Wales, Judith Wright (1915-2000) grew up to become a much-awarded Australian poet, short-story writer and conversationalist, as well as a highly acclaimed literary critic. She received honorary degrees from several universities, and was also appointed as a members of Australia Council. Wright strongly believed that a poet should be concerned with national and social problems, and she was an uncompromising campaigner for Aboriginal land rights. Land played an important and influential role for Judith Wright all her life. She fought to conserve the Great Barrier Reef, when its ecology was threatened by oil drilling, and campaigned against sand mining on Fraser Island. Her writing was deeply inspired by the places in which she lived – New England, New South Wales, the subtropical rainforests of Tamborine Mountain, Queensland and the plains of the southern highlands, near Braidwood. For Wright, her mission was to connect the human experience with the natural world, through poetry and other works. It was a measure of her engagement that she would sign off letters to her friends: "With love and fury, Judith". In With Love and Fury, recording and concert tour, Katie Noonan and the Brodsky Quartet are collaborating for the first time ever. Together they have re-imagined the words of Judith Wright in a truly unique and remarkable Australian program, for which Katie has chosen a number of contemporary Australian composers, including Carl Vine, Elena Kats-Chernin, Richard Tognetti, Iain Grandage, Andrew Ford, David Hirschfelder, Paul Grabowsky, Paul Dean and John Rodgers, in nine especially commissioned pieces, together with one of her own. To these new works the Brodsky Quartet have also added some of their own repertoire, both alone and accompanied by Noonan, including songs by Elvis Costello, Björk and Katie herself. Katie Noonan’s technical mastery and pure voice make her one of Australia’s top vocalists. The singer, producer, songwriter and pianist is one of the most diverse artists in the country, taking audiences on many sublime excursions through Jazz, Pop, Indie and Classical music. “I am so thrilled with the outcome of this project. Ever since I first heard the Brodsky Quartet with Elvis Costello on the seminal album "The Juliet Letters" and then with one of my musical idols Björk, it has been a dream of mine to sing with this incredible string ensemble. For me, this program is particularly poignant. Not long before her death at age 85 in the year 2000, Judith Wright marched in Canberra for reconciliation between Indigenous and non-Indigenous Australians. Judith was such an advocate of the Indigenous story and also such a fierce fighter for the conservation of our precious Australian environment – and her words are perhaps more pertinent now than ever." – Katie Noonan

Since its formation in 1972 the Brodsky Quartet has performed over 2,000 concerts on the major stages of the world and released more than 50 recordings. Jacqueline Thomas and Ian Belton are the two original Brodsky members and violist Paul Cassidy joined in 1982. Having had some of the finest violinists in the world in the st1 chair (including current SSO Concertmaster Andrew Haveron), they are now joined by the wonderful Dutch violinist Daniel Rowland. The Brodsky Quartet choose to perform with only an elite few vocalists, having previously collaborated with Björk, Sting, Anne Sofie von Otter, Elvis Costello and Paul McCartney.

"We are so happy to be working with Katie Noonan, and are proud to be involved in this wonderful new Australian song cycle in memory of the inspirational Judith Wright.” – Paul Cassidy

16 Saturday 29 april

CROWNE PLAZA CANBERRA presents with the assistance of the Italian Cultural Institute and the Embassy of Italy concert 4 Il racconto di mezzanotte – A Midnight Tale

Severino Corneti 1530-1582 Guillaume Dufay 1397-1474 FITTERS' Pigliate l’alma mia Vergine bella WORKSHOP from: "Canzonette alla napolitana" from: Ms. GB-Ob Canonici misc. 9.30pm Antwerp 1563 213 n. d. 60 mins Marco Beasley b. 1957 Marco Beasley Reading I Cori miu ste... from: "Scritti senza titolo" Invective on the death of Christ manuscript 2011 Nando Acquaviva/ Anonymous Toni Casalonga Le sette galere Lamentu a Ghjesu a traditional song from Corsica Text by Roccu Mabrini (Corsica)

Marco Beasley Anonymous Reading II Magnificat from: "Scritti senza titolo" Gregorian paraphrase manuscript 2011 Emperor P. Hadrianus Anonymous 76-138 Pizzica taranta Animula from: Memorie di Adriano a traditional dance from Puglia M. Yourcenar 1951

Marco Beasley Severino Corneti 1530-1582 Reading III Signora mia from: "Scritti senza titolo" from: "Canzonette alla napolitana" manuscript 2011 Antwerp 1563 Anonymous Nycholay sollempnia Marco Beasley Reading V from Ms. Cividale cod. LVI from: "Scritti senza titolo" early 14th Century manuscript 2011 Marco Beasley Reading IV Anonymous Jesce Sole! from: "Scritti senza titolo" Invocation in a manuscript 2011 Neapolitan nursery rhyme Anonymous Deus te salvet Maria a traditional song from Sardinia Marco Beasley tenor

17 A Midnight Tale After the toils of the day, all would gather in which there is no real division between the around the hearth to tell and hear stories. And storyteller and the listener. Together, they share these stories – of love, of death, of injustices or a moment of greater intensity. of joys, of suns which illuminate distant worlds, I have always considered the audience as "of damsels and knights, of arms and loves" (in an entity made up of individuals, where the the words of Ariosto) – evoked worlds which, sensibilities of each person contributes to though full of fantasy, were no less real. Stories creating not one but a thousand stories, where and tales have always been an essential part of the common denominator is the act of listening man's imagination and food for the mind. itself and one's personal elaboration. Our The Midnight Tale (Il racconto di mezzanotte) experiences enter into the story that is heard, proposes this element of intimacy, of they interpret it and make it their own. relationship with the word: song becomes the And it is the same for the one who tells or sound of a narrative, something ancient and yet sings the story: each time it becomes new and familiar. different from the time before, even though it is A solo voice, a monologue both sung and essentially the same. spoken, at sunset or the last hour of the day, But what makes a story told by a solo voice in that place in the heart where all is mystery; different from one told by numerous voices a tale of visions, of timeless emotions; stories or voices accompanied by instruments? The told, stories sung to those who remember they answer is found in the freedom with which were once children. a single voice can express itself, each time From early music to ancient folk songs; from without any sort of predefined "code", in the experiences of daily labors, which often leave sudden choice of following the path of a feeling no room for thought, to the need to be alone or letting oneself be overrun by it, in capturing a in able to search within oneself the humanity glance, or searching for one. of living. A person, a voice: a brief tale, an And it is found in the desire to listen to silence invitation to dream. as if it were an act of meditation, a private The tale of a voice moment which, in its essence, colors our thoughts. The voice becomes the vehicle of The possibilities of a voice to evoke stories is all of this – a voice now delicate and dreaming, practically infinite. The need to communicate now energetic and commanding, now hushed through the voice emotions and the and waiting. But always alive, natural, close by. multifarious aspects of the soul is in the nature of every one of us: laughter, crying, pain and joy, The voice in A Midnight Tale returns to its feelings often associated with the word "Love" ancestral love for telling stories, a love which – all serve to outline these traits; they offer comes from afar, from the ancient pleasure of personal experiences of life. listening to them. It all takes place in the magic passage from day to night, when even time, now The Midnight Tale revolves around this concept and then, is suspended. of narration, sometimes read and sometimes sung, creating a more intimate sort of concert Marco Beasley 2013

18 Ainslie Arts Centre Saturday 29 april, Sunday 1 MAY Saturday - 10am Sunday - 10am, 2pm ICON WATER presents in association with Ainslie and Gorman Arts Centres 50 mins CONCERT 5

Performed by The Griffyn Ensemble

Mummified Cat Susan Ellis voice

Mummified Cat Chris Stone violin

Mummified Cat Michael Sollis mandolin

Mummified Cat Holly Downes double bass

City Kitten Kiri Sollis piccolo

Mysterious Kitten Laura Tanata harp

Written by Michael Sollis

Directed by Cathy Petőcz Deep within an underground Egyptian tomb, four mummified cats are woken by a mysterious sound. Led by their ears, the half-alive, half-still-mummified cats set out on a journey through an unfamiliar new world of haunted mazes, video games, and the streets of contemporary Cairo to find a way to belong to the land of the living. Curiosity doesn't always kill the cat – it might just bring these cats back to life!

This concert is supported by BETTY BEAVER WP – world premiere 19 Ear of the Cat was written by Michael Sollis, after a residency in Cairo during 2015. While in Cairo, Michael directed a series of drama and music workshops and interviews with young people, with the assistance of Cairo Arts organisation AFCA Arts and alongside director Mohammed Elghawy. The material generated in these workshops formed the initial ideas which then were later developed to create Ear of the Cat, with the dramaturgical assistance of Canberra-based playwright Cathy Petőcz.

20 Sunday 1 may

In association with the National Gallery of Australia CONCERT 6 Barbara Blackman’s Festival Blessing

Hossein Valamanesh – This will also pass (2012) Andrew Ford discusses working as an artist in the Middle East today Gandel Hall with Hossein Valamanesh, Raihan Ismail and Joseph Tawadros National Gallery of Music by Joseph Tawadros oud and James Tawadros percussion Australia 2pm Hossein Valamanesh 75 mins At the core of Hossein the Western Desert, visiting Valamanesh draws on Iranian Valamanesh's art lies the Aboriginal communities including culture, in particular on Iranian relationship between humans Papunya and Warburton. poetry and the Sufi poetic and the natural world and a sense Valamanesh felt a strong affinity tradition. His own memories of of place informed by cultural with the cultural and spiritual Iran, growing up in the remote history and personal memory. connections to the land he saw in town of Khash near the Pakistan Valamanesh was born in Iran these communities and through border and later living in Tehran, in 1949 and trained as an artist this he began to connect to his infuse many of his works. He in Tehran before immigrating new country, an experience which now lives in Adelaide and is to Australia in 1973. In 1974 has had a profound impact on his considered one of this country’s he travelled with a group of subsequent development as an most prominent visual artists. artists and musicians through artist.

Raihan Ismail Raihan Ismail came to doctoral Islamic University of Malaysia. Dr Ismail's research interests studies at the ANU having gained She was awarded a PhD at ANU include: Sectarianism in the a Bachelor in Political Science, in 2013, and currently holds a Gulf region, Political Islam with a with a minor in Islamic Studies, position there as an Associate strong focus on Egypt and South and a Masters in International Lecturer in the College of Arts East Asia, and studies of religious Relations from the International and Social Sciences. institutions in the Middle East.

This event is supported by BEV & DON AITKIN Joseph Tawadros is supported by Joanne Daly & Michael Adena

21 Andrew Ford Andrew Ford is a composer, writer Prize for his large ensemble piece, music in search of the primitive and broadcaster, and has won Rauha. His music has been played (2015). He has written, presented awards in all three capacities, throughout Australia and in more and co-produced four radio including the 2004 Paul Lowin than 40 countries around the series, including Illegal Harmonies Prize for his song cycle Learning world. A former academic, Ford and Dots on the Landscape, and to Howl, a 2010 Green Room has written widely on all manner of since 1995 he has presented The Award for his opera Rembrandt's music and published eight books, Music Show each weekend on Wife and the 2012 Albert H Maggs most recently Earth Dances: ABC Radio National.

Joseph Tawadros Joseph Tawadros’s family He began learning the oud with Fellowship for Classical Music. He emigrated from Egypt to Australia Mohammed Youssef, before has collaborated and recorded when he was three. His uncle continuing his studies in Australia with a broad range of musicians: was the trumpet player Yacoub and Egypt. For a while he spent the Australian Chamber Mansi Habib, and his grandfather three months a year in Egypt and Orchestra, The Song Company was the oud and violin virtuoso learned to play other instruments: and many more. Mansi Habib. Initially attracted the bamboo fluteney , the Arabic to the trumpet, Joseph decided zither qanun and the cello. Joseph generally plays together to learn oud when he was eight, In Australia, he completed a with his younger brother James after seeing a movie about Egypt's bachelor of music at the UNSW Tawadros, a world-class virtuoso famous musicien, Sayed Darwish. and was awarded a Freedman on the req or Egyptian tamburin.

Barbara Blackman AO Author, music-lover, essayist, librettist, letter writer and patron of the Arts, Barbara was born in Brisbane in 1928. Her father died when she was three years old, and mother and daughter lived together in a series of homes and boarding houses in Brisbane. At Brisbane State High School, Barbara was introduced to the music of Shostakovich by fellow students Donald Munro, Roger Covell and Charles Osborne, and began a love affair with contemporary music that continues today. In 1950 she was diagnosed with optic atrophy; her vision declined rapidly until she became completely blind.

By 1952 Barbara was married to aspiring artist Charles Blackman, a marriage that produced three children and lasted nearly thirty years. The two lived a meagre but happy existence in Melbourne until 1960, when Charles was awarded the prestigious Helen Rubinstein Travelling Scholarship, and the family moved to London. In later life, Barbara married Frenchman Marcel Veldhoven. The pair spent twelve years together before Veldhoven travelled to India to live and study Tibetan Buddhism. Though Barbara was raised in the Christian tradition, she broke away from the Church in her early twenties and today follows the teachings of Sufism.

In 2004, Barbara pledged $1 million to music in Australia: to Pro Musica and the ANU School of Music among other groups. Her generosity to Pro Musica enabled the Canberra International Music Festival to develop in directions that would not otherwise have been possible.

22 Sunday 1 MAY

In association with the ANU School of Music CONCERT 7 Petite Messe solennelle

Gioachino Rossini 1792-1868 FITTERS' WORKSHOP Petite Messe solennelle (1863) original version for twelve voices, piano and harmonium 6.00pm 80 mins

The Song Company & Friends

Kyrie Crucifixus Richard Black tenor Gloria in excelsis Deo Et resurrexit Tobias Cole alto James Doig tenor Et in terra … Et vitam venturi saeculi Mark Donnelly baritone Gratias agimus tibi Prélude religieux Taryn Fiebig soprano pendant l’Offertoire Anna Fraser soprano Domine Deus Hannah Fraser mezzo Sanctus - Qui tollis peccata mundi David Greco baritone Benedictus Susannah Lawergren soprano Quoniam tu solus sanctus O salutaris hostia Robert Macfarlane tenor Cum Sancto Spiritum Andrew O’Connor bass Agnus Dei Maartje Sevenster alto Credo in unum Deum Neal Peres Da Costa 1869 Erard grand piano, Paris Courtesy of Neal Peres da Costa Aaron Chew 1912 Packard Harmonium Courtesy of James Huntingford Directed by Roland Peelman

This concert is supported by PERONELLE & JIM WINDEYER Taryn Fiebig is supported by Susan & David Chessell The Song Company is supported by Dianne & Brian Anderson Roland Peelman is supported by Donna & Glenn Bush 23 Petite Messe solennelle for four parts with the accompaniment of 2 pianos and harmonium. Composed during my holiday in Passy. Twelve singers of three sexes Men, Women and Castrati will be sufficient to perform it, eight for the choruses, four for the solos, a total of twelve Cherubims. Gracious Lord, pardon me the following comparison. There are also twelve Apostles in the celebrated morsel by Leonardo, called The Last Supper. Who would believe it? Among your Disciples there are those who sing out of tune!! Lord, rest assured: I affirm that there will be no Judas at my Supper and that mine will sing in tune and with love your Praises and this little Composition which is, alas, the last mortal sin of my old age. G. Rossini. Passy 1863 On first hearing thePetite Messe Solennelle, the listener is tempted to adapt a remark attributed to Napoleon III and declare that the piece is neither little, solemn nor especially liturgical in spirit. Rossini’s Don Camilloesque inscription would suggest that even he inclined to such a view: Good God – behold completed this poor little Mass – is it indeed music for the blest [‘musique sacrée’] that I have just written, or just some blessed music [‘sacrée musique’]? Thou knowest well, I was born for comic opera. A little science, a little heart, that is all. So bless Thee and grant me Paradise! The first performance of the piece was given at the town house of the dedicatee, the Countess Louise Pillet Will, and those who attended agreed that, for all Rossini’s protestations, the Mass represented a magnificent feat of creative self-renewal for the seventy-one-year-old composer. Rossini specified twelve as the ideal number of singers (his instructions throughout are that the soloists should also sing the chorus parts when not otherwise involved), although subsequent performances have generally involved a larger chorus and separate soloists. Initially, the instrumental scoring of the Mass for two pianos and harmonium, seems strange, but given its context as a salon piece, such instrumentation is not unusual. Following a remark from the critic of Le Siècle (who stated that there was enough fire in the piece to melt a marble cathedral were it to be scored for full chorus and orchestra), Rossini proceeded to orchestrate the piece in the years 1866–7. This orchestration, however, makes very few concessions to orchestral colour and adds nothing to the stature of the work, which depends mainly on melody, line and rhythm. The orchestral version had its first public performance on 28 February 1869 (as near as possible to the 78th anniversary of the composer’s birth) at the Théâtre-Italien, Paris. Rhythm and modulation play an important part in the opening ternary-form Kyrie, and the rhythmic excitement continues throughout the Gloria and Credo (especially of note is the contrapuntal writing in the Cum sancto spiritu and Et vitam venturi sæculi). The magnificent tenor soloDomine Deus recalls the Cujus animam from Rossini’s earlier Stabat Mater, while Rossini’s operatic roots are represented in the Quoniam. The insertion of the O salutaris (not part of the liturgy, but often used as a hymn during the Mass or Benediction) provided Rossini with an opportunity to explore the unusual harmonies he was using in his piano pieces at the time. The final, luminescentAgnus Dei for contralto (Rossini’s favourite voice) and choir brings the work to a dramatic close. Barry Creasy, Chairman Collegium Musicum of London

24 Monday 2 may

In association with the High Court of Australia, the National Portrait Gallery and the National Gallery of Australia, with the assistance of the Embassy of Mexico in Australia and the National Carillon managed by the National Capital Authority concert 8 SOUNDS ON SITE BELLS AND SMELLS

NGA Sculpture Garden NGA to High Court

Judith Clingan (b. 1945) Elena Kats-Chernin 12.30pm The Summer of Assurance Possibility Piece 90 mins

Elena Kats-Chernin (b. 1957) Jessica Wells (b. 1974) Velvet Moon Rag Butterfly Waltz Lyn Fuller carillon (b. 1934) Larry Sitsky Elena Kats-Chernin Anna Wong Carillon Vartarun I Possibility Piece Virginia Taylor flute Aaron Chew piano Lyn Fuller (b. 1946) Exit Stage Left Christina Leonard soprano saxophone Anna McMichael violin High Court of Australia Tambuco Percussion Ricardo Gallardo Anne Boyd b. 1946 Anon. Alfredo Bringas Book of the Bells (1981) Chant: Ego sum panis vitae Miguel González (I am the bread of life) Raúl Tudón National Portrait Gallery Festival handbell ensemble Boccherini Trio Tristan Coelho b. 1983 Gerard Brophy b. 1953 Suyeon Kang violin Smell of the the Earth (2016) WP Kaleghat Votives for saxophone Florian Peelman viola and string quartet (2008) 1862-1918 Paolo Bonomini cello Claude Debussy (WP of new version 2016) Syrinx (1913)

This concert is supported by JUDITH HEALY & MEREDITH HINCHLIFFE Boccherini Trio is supported by Carolyn Philpot Virginia Taylor is supported by Gudrun Genee WP – world premiere 25 The National Carillon essentially spiritual and she is much interested in the idea of music as meditation, as a means The National Carillon was a gift from the British of changing states of consciousness. Her music government to the people of Australia to com- is based on the intersection of Christian Love memorate the 50th anniversary of Canberra. with Buddhist silence. Some of her more recent Queen Elizabeth II officially opened the National work explores Christian mysticism. Carillon on 26 April 1970. The 50-metre tall, award-winning tower was designed by Western In 1990 Anne became the first Australian and Australian architects Cameron, Chisholm Nicol. the first woman to be appointed Professor of With 55 bronze bells, the National Carillon is Music at the University of Sydney. considered large by world standards, each bell weighing between seven kilograms and six Kalighat Votives (2008) tonnes. The bells span four and a half octaves Kalighat is a fascinating and extremely chromatically. The organisation is run by the overcrowded area located on the banks of the National Capital Authority, employs and trains Hugli River in south Calcutta and it is home carillon players, commissions new work and to two of the city’s most revered spiritual presents regular recitals. Lead Carillonist is Lyn institutions. First is its namesake, the Kalimandir Fuller. which is one of the most important Hindu pilgrimage sites in India. Apart from the puja and Syrinx (1913) offering ceremonies at the temple, the nearby Syrinx was written as incidental music to the burning ghats at Keoratala offer an important uncompleted play Psyché by Gabriel Mourey, service for those who have come to this holy and was originally called "Flûte de Pan". Since place for the express purpose of leaving this one of Debussy's Chansons de Bilitis had world. The other institution is Nirmal Hriday, the already been given that title, however, it was hospice for the dying established by Mother given the name of the nymph Syrinx, who was Teresa, the doors of which are open to ailing pursued by the god Pan who had fallen in love pilgrms on their final journey irrespective of with her. Since Syrinx did not return Pan’s love, caste, creed or religion. It is a place that despite however, she hid in the marshes and turned its profound purpose, radiates an almost herself into a water reed. When Pan cut the reeds palpable calm. to make his pipes, he thereby killed his love. The three prayers that comprise Kalighat Anne Boyd Votives are my responses to the vivid, Born in 1946, Anne Boyd wrote her first teeming tableau of life that characterise this compositions as a little girl growing up on mesmerizing place. a remote outback sheep station in Central Although the piece does not utilize any Indian Queensland where her only music teaching was scalic or thematic material per se, it does utilize via ABC Radio (especially The Children's Hour's call and response figures between the oboe and Mr Melody Man) and a recorder book. Much the quartet and within the quartet itself as well later she became a student of Peter Sculthorpe as drones, devices, both of which of course, are and inherited through him a lifelong fascination typical of much Hindustani music. with the musical cultures of South East Asia, especially Japan and Indonesia. Kalighat Votives was commissioned by Tania Frazer and was premiered by her and the Anne regards the ancient court music of Japan Grainger String Quartet at the 2008 Bangalow as a primary influence, the closest musical Festival. representation of the arid outback landscape of her early childhood. Composition is viewed as Gerard Brophy 2016

26 Monday 2 MAY

PALACE ELECTRIC CINEMA presents CONCERT 9 The Streets of Madrid

W.A. Mozart 1756-1791 FITTERS' Divertimento in E flat major KV563’ WORKSHOP Allegro Andante 6.30pm Adagio Menuetto – Trio I – Trio II 90 mins Menuetto – Trio Allegro

interval Boccherini Trio Suyeon Kang violin 1743-1805 Luigi Boccherini Florian Peelman viola La musica notturna delle strade di Madrid G 324 Paolo Bonomini cello (Night music from the streets of Madrid) Andrey Lebedev guitar Le campane de l’Ave Maria Passa Calle Rohan Dasika double bass (The Ave Maria bells) (The passacaglia of the street Anna McMichael violin Il tamburo dei Soldati singers known as Los Manolos) Alfredo Bringas castanets (The soldiers’ drum) Il tamburo Minuetto dei Ciechi (The drum) (The minuet of the blind Ritirata beggars) (The retreat of the Madrid Il Rosario nightwatch) (The rosary)

Luigi Boccherini Fandango from Guitar Quartet No. 4 in D G 448

This concert is supported by MARGARET FREY & DEBBIE CAMERON Andrey Lebedev is supported by Muriel Wilkinson & June Gordon Boccherini Trio is supported by Carolyn Philpot 27 redefined both form and content? Equally, Mozart’s quasi-unstoppable output from the five last years of his life pushed against the barriers of convention. In the miraculous summer of 1788, in between the completion of three major symphonies and his “Coronation” piano concerto, he tackled the notoriously ‘difficult’ combination of violin, viola and cello: the absence of a second violin means that viola and cello simply have to work harder, often in uncomfortable registers. It prompted an unparalleled work in six movements which some people have argued is superior to all the rest: a trio entitled Divertimento, conceived as a six-part arch in which three string players are stretched in more than one way. The opening Allegro starts simply enough, Divertimento in E flat major KV563 until the labyrinthine fugal exchanges of the development attain a depth and sonority The music of the classical period is typically far beyond what can be expected of three described in history books as the development players. If there were any doubt about the of sonata form realised for a solo instrument seriousness of this so-called Divertimento, (sonata), for chamber music (string quartet in the tone of the A flatAdagio easily matches particular) or for orchestra (symphony). Laid the slow movement of Symphony No. 39, out over three or most often four movements, written earlier that summer. Then, instead of formal balance is achieved as well as pristine a single minuet preceding the Finale, Mozart abstraction without reference to a text or an conceives two different Minuets, the second external program. This formal framework allows one with two trios in the style of an Austrian for a sophisticated interplay of two opposing Ländler. Wedged in between is a magnificent statements that are first presented, then Andante, a theme-and-variations, a procedure organically developed, argued and eventually that brings out the best in a composer who resolved. The resulting works by Haydn, Mozart knows his craft. By the time the final variation and Beethoven, all working from Vienna appears – a chorale theme in the viola against headquarters, have often been described as brilliant fast counterpoint of the other two some of the finest achievements of Western voices – the original theme is hardly discernible. art, a classic moment that brought together The Finale is a bravura rondo that combines Cartesian rationalism and Kantian dialectics rapid instrumental panache with complex inside the ear of the unsuspecting listener. counterpoint. All this idealistic perfection wasn’t necessarily Mozart himself played the viola part in the first borne out by the realities of performance at performance in Dresden on April 13 1789. The the time. Symphonies were rarely performed in piece was dedicated to Michael Puchberg, a the sequence that we now take for granted, and fellow Freemason who helped him through that some works defied the norm, or deliberately extraordinary summer of 1788 with extra cash. set out to break those classic constraints. Roland Peelman 2016 Haven’t we grown to admire Beethoven’s late sonatas and string quartets for the way they

28 In comparison to his contemporary Haydn, equally prolific and long-lived, Boccherini cared less for formal structural considerations, but rather preferred to dwell on the texture and physical qualities of sound. As Schubert is distinct from Beethoven, so Boccherini differs from Haydn. His obsession with gradations of softness even pre-empts the extreme soft ventures of Nono and Sciarrino in the last quarter of the 20th century. Yet his manner and elegance place him in the late 18th century, an era of grace, refinement and artifice, often served as a perfectly perfumed cover for the decaying generations of Western royalty. Certainly, Boccherini’s music does not herald the revolution; neither, however, does it shore up the ancien régime. In its quiet humanity, its total lack of pomposity and its clear intention Boccherini: More than a Minuet to draw us into the sound of the instrument, Say Boccherini and people think Minuet. Little Boccherini’s music speaks to the burgher who did Luigi know that this genteel movement from has to earn his own living and live by his wits. his String Quintet in E Op. 11 No. 5 would hijack Boccherini’s vast oeuvre has been catalogued his reputation for nearly two centuries. by Yves Gérard. This concert features the Born in Lucca into a musical family, the young Fandango from one of his guitar quartets, G Boccherini displayed musical talent and a 448, and the Night Music from the Streets of special ability on the cello. Luigi’s father, a Madrid (G 324). Today the Night Music is one cellist, sent him first to Rome and then to of his most popular works, and exists in several Vienna. But by 1761 the 19-year-old musician versions – tonight’s performance conflates the found himself in Madrid, and soon after, in the double cello and guitar version. But it was never steady employment of King Charles III's younger published in his lifetime, for Boccherini told his brother, the Infante Don Luis Antonio. publisher [sic Boccherini] : Here he thrived as a cellist and as a composer. “The piece is absolutely useless, even Known for regularly playing violin parts on the ridiculous, outside Spain, because the cello, his inventiveness and feeling for colour audience cannot hope to understand its easily transferred to composition. Boccherini’s significance, nor the performers to play staggering output of chamber music with cello it as it should be played.” as its anchor or protagonist still largely remains Roland Peelman 2016 to be discovered. Symphonies, string trios, string quartets and a new repertoire of quintets with two cellos or added guitar flowed from his pen, and spiced with Spanish dance rhythms if required.

29 Hüzün and other delights …

A conversation with Gerard Brophy 2016 Composer-in-Residence

Roland Peelman GB During my time at the Sydney Is there a Brophy musical lineage? What are Conservatorium, my teacher, the English your earliest musical memories? musicologist Richard Toop, ignited my interest in the music of many of the leading Gerard Brophy figures of the Europeanavant garde, Pierre No lineage nor any music running through Boulez, György Ligeti and Iannis Xenakis, to the family as far as I am aware. One of mention a few. It was a heady time indeed my earliest and most compelling musical and the challenge for me was to make some memories is of Prokofiev’sPeter and the sense of it all. Wolf. I had contracted pneumonia, been quarantined to bed and my only distraction In contrast to this was a performance of was a wireless tuned to the ABC. Given my Peter Brooks’ production of the medieval tender age it was entirely predictable that I Persian epic The Confererence of the Birds would be attracted to the story’s fairytale/ that left an indelible impression on me.It gothic qualities, but I recall being especially had a genial effect on my works for ballet delighted by the way the narrative was and the theatre many years later. But for the intertwined with the music. This left an moment I was besotted with the modernist enduring impression that resonated deeply aesthetic. within me. It was one to which I would return RP Your early work was uncompromising time and again at various stages throughout in many ways. It was a heady period in my life. Australian composition with many of our hottest talents studying in Europe, Holland RP What made you decide to become a and Italy in particular. Was it modernism, composer? or did it have more to do with experiencing GB I commenced my studies in the classic Italian culture? guitar at the age of 22 but quickly came GB On graduation from the NSW State to the realisation that I was not cut out to Conservatorium my wife and I were be a solo performer. At the time I worked determined to live in Roma for as long as closely with the Brazilian guitarist Turibio possible. Then it was just a question of Santos, an experience that proved decisive selecting a teacher who taught there and I to say the least. He encouraged me to look did just that in applying to study with Franco beyond the myopic preoccupations of Donatoni. guitar technique and he drew my attention to a much broader universe of musical RP What were or what are your literary points possibilities. Such was my enthusiasm that I of reference – if there are any? decided to apply for entry into the Bachelor GB I am a voracious reader of literature, of Composition degree at the NSW State history and other topics. In addition, I am a Conservatorium of Music. passionate student of languages. RP You have taught composition for many years, RP I know. Your text messages come in all and you still do. Did you have a role model, a possible languages. And the first work particular teacher who left his mark? you wrote for the Song Company used an

30 obscure Italian text. Something changed potential. There is only one Creator and though, after returning from Italy. all I do is to assemble things from what is already there. In this sense I am a Catholic GB During the early 80’s Italy was enjoying a in both the spiritual and musical sense! period of unprecedented musical activity RP One of the strongest memories I have of and the mélange of styles and genres on you as a composer is sitting in rehearsals offer was astonishing. My experience there of Sinfonia, Berio's grand statement from was everything a young composer could 1967/68. You were making notes all the way wish for. But we did chose to return to through the score. How important is the Australia. Throughout the following years, musical canon to you? I continued to create a steady stream GB If I was forced to describe my place in of works fashioned along modernist the milieu I would describe myself as a lines. Occasionally I was involved in journeyman so the musical canon is my collaborations with other artists from trusty guide. But I have been plugging other disciplines and musicians from other away consistently since 1978. The creative cultures. At first these engagements were process is an impenetrable morass and one-off events but soon the trickle turned to propose an overarching grand unified into a flood. theory for my pieces is simply beyond me. The consequence has been a Henry de Montherlant once said something like ‘I am not just one of my works, I am all of transmutation of my aesthetic towards them’: - a mixed blessing indeed! simplicity. As much as my modernist period had been characterized by an aspiration RP Many people, myself included, admire your to fill the available sonic space with sound, capacity for reinventing yourself. During the the reverse situation now applies. My last few years a strong level of spirituality intention now is to enhance the resonance has emanated through your work: 'Gethsemane', the Mass, now 'Canticles'. of the music I write and expunge the sonic It's a long way from 'Flesh'! clutter of all unnecessary detail so as to communicate more directly. GB Yes, after composing for well over thirty years, I have arrived in a brave new world of RP In one of our conversations in the '90s, you expressive possibilities and it is definitely stated three pillars of your work: natural not the one that I had envisaged 35 years harmony (the overtone series), rhythm and ago. At this point on the scale, it is the pulse, colourism/exotic colours. It seems hüzün (melancholy) and the music of the that you have remained true to those meyhanes of Istanbul, the hans of Aleppo principles, but the context has evolved. and churches of Tbilisi that holds sway GB The overtone series is an undeniable over my imagination. I have returned to the scientific reality which one denies at narrative that so impressed me at the Peter one's peril and tonality and/or modality Brooks production all those years ago and are similarly crucial to my metier. I am I am revelling in it. But who knows what the not really sure what a colourist is but I'm future may hold? pretty certain that I don't want to be one. RP Any idea what’s next? Also I must say that I gently arc up when 'exoticism' is used to describe what I do. GB In all honesty I do not have a clue where my I simply regard all the elements that are current interests will lead me and nor am found in my music as being legitimate I overly concerned by this. I must say that musical devices of great expressive this is all part of the fun!

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Tuesday 3 May

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Nishi Gallery and other locations New Acton 12.30pm Luciano Berio 1925-2004 90 mins Sequenza II for harp (1963) Alice Giles harp Luigi Dallapiccola 1904-1975 Paolo Bonomini cello Ciaccona, intermezzo e adagio (1945) Virginia Taylor flute Rupert Boyd guitar Osvaldo Gojilov b. 1960 Anna Fraser soprano Fish Tale (1998) AP Florian Peelman viola James Crabb accordion Luciano Berio Sequenza III per voce femminile (1965) Tambuco Percussion Ricardo Gallardo Alfredo Bringas Pierre Charvet b. 1968 Miguel González And death (2015) Raúl Tudón Luciano Berio Sequenza XIII for accordion ('Chanson') (1995)

Thierry De Mey b. 1956 Musique de table (1987)

James Crabb is supported by Lyndall Hatch Virginia Taylor is supported by Gudrun Genee AP – australian premiere

33 Luciano Berio (1925-2003) tresses, capable of drawing from it nothing more than seductive glissandi." A French harpist by the name of Francis Pierre gave its first performance in 1963. The vocal Sequenza from 1965 is one of the most iconic of the series, in no small measure due to its famous first interpreter,C athy Berberian, Berio’s wife at the time. Berio wrote: “The voice carries always an excess of connotations, whatever it is doing. In Sequenza III I tried to assimilate many aspects of everyday vocal life, including trivial ones, without losing intermediate levels or indeed normal singing. This is the “modular” text written by Markus Kutter for Sequenza III: Luciano Berio Photo: © Daniel Cande Give me a few words for a woman to sing a truth allowing us to build a house without worrying before Sequenza II for harp (1963) night comes Sequenza III for female voice (1965) Sequenza III can be considered as a dramatic (Directed for Anna Fraser by Leonie Cambage essay whose story, so to speak, is the with paper design by Benja Harney) relationship between the soloist and her own Sequenza XIII for accordion (‘Chanson’) voice”. (1995) Almost twenty years later, after having visited Between 1958 and 2002, Luciano Berio wrote anything from violin to trombone, Berio fourteen solo pieces entitled Sequenza, a string added an accordion Sequenza, subtitled of virtuoso pieces that explore the capabilities ‘Chanson’. Rather than subverting the playing of a solo instrument and its player often in traditions of the accordion, the piece subverts defiance of the classic traditions. The first one, the traditional sentimentality of accordion for flute, dates from 1958, followed five years melodies and adds a wry modern melancholic later by one for harp. Berio wrote of Sequenza II, edge to its lyrical meanderings. Teodoro "French impressionism has left us with a rather Anzellotti premiered the piece in Rotterdam in limited version of the harp, as if its most obvious late 1995 as well as the revised version in Witten characteristic were that of lending itself to the the next year. attention of loosely robed girls with long blond Roland Peelman 2016

34 Fish Tale (1998) One of the most prominent exponents of the in US where he found a ready audience for his contemporary Jewish dispora is Osvaldo Noé personal mix of kletzmer, Argentinian roots and Golijov, born in La Plata, Argentina from a family liturgical roots. Fish Tale is a chamber piece of Jewish Romanian migrants. As a young man about a sea creature who takes a trippy Alice in he spent three years in Israel before settling Wonderland-like journey through the water.

Ciaccona, intermezzo e adagio for cello solo (Firenze, 1945) In 1945 Luigi Dallapiccola took a break from The three-part cello piece Ciaccona, his major opus, the opera Il prigioniero (The intermezzo e adagio was developed in close Prisoner) in order to complete a few smaller collaboration with the Spanish cellist Gaspar works, among them this piece for solo cello. Cassadò who gave its premiere in Milan on The end of the war had brought relative peace February 26th, 1946. Constructed as a broad and stability into his life, but his artistic creed bridge form reflected in the fifth-fourth was as marked by the tumultuous events inversion of the tone-row itself, the work of the first half of the 20th century as it was transcends both traditional cello technique imbued with the spirit and craft of Schönberg’s and strict 12-tone composition technique. twelve-tone technique. Born in Istria (now part Wordless, yet supremely eloquent, the piece of Croatia), he and his family were profoundly is as profound a statement on freedom as affected by both great wars, and his major the opera that concludes with the prisoner’s works deal with persecution, displacement and whispered “libertà”. rough justice. Roland Peelman 2016

And Death (2015) In a country that has just seen the passing of a composer he graduated from Manhattan Pierre Boulez, Charvet is a household name School of Music and entered IRCAM at the age through his radio and TV shows: Presto! of 23. And Death is a recent work for viola and atttracts 4 million viewers each week, and electronics, miles removed from the world of his radio show le mot du jour is the highest Boulez, but infinitely closer to the urban jungle rating program on France-Musique. But as sounds of a younger generation.

Musique de Table (1987) Thierry de Mey wrote Musique de table (Table prominence (Jan Fabre, Anna Teresa de Music) for the dance-theatre group Ultima Keersmaeker and more). de Mey himself Vez by Wim Vandekeybus in 1987, the decade studied dance and has been a key collaborator that saw a number of Belgian visual arts and for a number of leading film, dance and theatre theatre/dance directors rise to international makers in Belgium and France.

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36 Out Now Tuesday 3 May B2B MAGAZINE presents with the assistance of Acción Cultural Española and the Embassy of Spain concert 11 SEE WEBSITE FOR STOCKISTS HERCANBERRA.COM.AU/MAGAZINE Scarlatti meets Handel meets Bach

J.S. Bach 1685-1750 Domenico Scarlatti FITTERS' Concerto nach Italienischem Three Sonatas WORKSHOP Gusto BWV 971 Sonata in A Major K 322 6.30pm — Sonata in C minor K11 75 mins Andante Sonata in E major K 380 Presto Georg Friedrich Handel James Crabb accordion J.M. Gallardo del Rey Concerto in B flat HWV 294 José María Gallardo del Rey Two Concert Studies: Andante allegro No. 4 - To J.S Bach guitar Larghetto Jonathan Lee organ No. 11 - To CPE Bach Allegro moderato Neal Peres Da Costa harpsichord Georg Friedrich Handel Joseph Tawadros oud Domenico Scarlatti Anna Fraser soprano 1685-1759 Sonata in D Minor K294 Chaconne in G minor HWV 259 Sonata in D Major K353 harpsichord by William Bright (1985) Georg Friedrich Handel Courtesy of the Hallelujah! HWV 277 Improvisation on Scarlatti ANU School of Music Joseph Tawadros, Domenico Scarlatti 1685-1757 organ by James Crabb, Knud Smenge (1982) Three Sonatas: José Maria Gallardo del Rey courtesy of the Sonata in F# Major K. 318 Sydney Conservatorium of Music Sonata in C Major K.159 Sonata in F minor K.481

This concert is supported by Peronelle & Jim windeyer HERCANBERRA.COM.AU @HERCANBERRA James Crabb is supported by Lyndall Hatch Joseph Tawadros is supported by Joanne Daly & Michael Adena

37 Class of 1685

In 1685, three musical prodigies were born. They were christened Georg Friedrich (Halle, 23 February), Johann Sebastian (Eisenach, 31 March), and Giuseppe Domenico (Naples, 26 October) respectively. The latter two had ample musical blood running through the family veins – well documented in the case of Bach; as for the Italian boy, he was the sixth child of the famous composer and teacher Alessandro Scarlatti. The boy from Halle was less fortunate, and had to battle a father dead set against the idea of his son as a musician. Unsurprisingly, much has been said about the curious coincidence of the three composers’ year of birth. More remarkable is that all three lived to a ripe old age, all three were gifted with quasi super-human keyboard skills, if we are to believe eye-witness accounts, and all three displayed a distinct taste for the Italian style, even away from Italy. Yet the manner in which their lives unfolded could not have been more different. Young Bach never had the opportunity to travel to Italy. But Italian music had long since travelled to Germany, including to the Protestant north, where Italian fashions and a taste for simple straightfoward musical expression were probably to blame for the resistance against Bach’s appointment in Leipzig and his subsequent tug-of-war with the City Council. No matter how skilfully he would employ and arrange the simpler ear-pleasing structures of the Italian concerto, his innate love of contrapuntal complexity and intricate interplay of voices made him stand out. The principle is simple all the same: a ‘tune’ is struck (upbeat and with clear rhythm, please) which returns repeatedly (hence ‘ritornello’) in between solo sections that display individual ingenuity (think of jazz standards). Bach clearly knew the Italian repertoire, arranging several of Vivaldi’s concerti for organ or adapting Pergolesi’s Stabat Mater into a setting of Psalm 51, the Cantata BWV 1083. But what stands out in his oeuvre is the Concerto nach Italienischem Gusto (Concerto in the Italian taste), a vivid three-movement work published in 1735 as part of a larger project called Clavier-Übung. The word ‘übing’ (exercise) betrays Bach’s didactic Scarlatti – Fingering Exercise streak. He was well aware of the magic power that agile,

38 well-practised fingers could exert over an audience. The concerto’s nifty fingerwork takes practice, sure enough, but the stated requirement for a double manual harpsichord hints at the contrasts and coloristic effects that make this piece shine. Bach generally wrote for an unspecified keyboard instrument, with three noted exceptions: the Goldberg Variations, the French Overture and this Italian Concerto. For someone working away in a small Lutheran town, he obviously relishes the cosmopolitan flair and fancy of the genre. His compatriot Handel never set his eyes on a local church existence: he wrote his first operas in Hamburg at the age of 18. Soon enough an invitation from the Medici family presented itself to travel to Italy. And so it was that between 1706 and 1710 he absorbed the Italian style at first hand, and made crucial contacts that were to have a lasting impact on his career. Two musicians left their mark: Corelli, whose concerto grosso style would profoundly influence him, and, importantly for tonight’s concert, Scarlatti. Both were in their early twenties, and played organ and harpsichord. We have one surviving (and not always reliable) account of the two composers engaging in a keyboard contest in Rome. According to the surviving source, Handel was declared to be superior on the organ, while Scarlatti matched or perhaps even surpassed Handel’s skill at the harpsichord. What we do know is that the organ stayed relatively prominent in Handel’s work, whereas the lion’s share of Scarlatti’s output consists of 555 harpsichord sonatas, only 30 of which were published, appearing in 1738 under the name Essercizi (exercises). A respected English harpsichordist of the day, Thomas Roseingrave, has left us a good account of the young Scarlatti from his travel log, as reported Scarlatti Sonata K 380 in E major by the contemporary historian Dr Charles Burney: 'Being arrived in Venice in his way to Rome, he (Roseingrave) was requested to sit down to the harpsichord and favour the company with a Toccata ... and, says he, 'Finding myself rather better in courage and finger than usual, I exerted myself ... and fancied by the applause that I received, that my performance had made some impression on the company....' After a cantata had been sung by a scholar of Fr. Gasparini, a grave young man dressed in black and a black wig, who had stood in one corner of the room, very quiet and attentive while Roseingrave played, being asked to sit down to the harpsichord, when he began to play, Rosy said, he thought that ten hundred devils had been at the instrument. The performance so surpassed his own, and every degree of perfection he should ever arrive, that, if he had been in sight of any instrument with which to have done the deed, he would have cut off his own fingers. Upon enquiring the name of this extraordinary performer, he was told it was Domenico Scarlatti …’ This and other accounts explain the existence of Scarlatti fan-clubs in England. But it was in Spain that Scarlatti was to spend the greater part of his life, firmly ensconced in Madrid in service of the Queen of Spain, who, according to the singer Farinelli, was “in constant admiration of his original genius and incomparable talents” – so much so that she regularly bailed him out of trouble, for he was “so much addicted to play [i.e., to gambling], that he was frequently ruined.” Roland Peelman 2016

39 HUME ACT 2016 courses

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Marching Steel Band International Guest Artists

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The Groove Warehouse is proud to be a CIMF Festival Partner T_ 02 6260 2847 E_ [email protected] W_ groovewarehouse.com.au 40 Wednesday 4 MAY

In association with Ainslie and Gorman Arts Centres concert 12 SOUNDS ON SITE HUME ACT Braddon’s Bread and Games 2016 courses

Gorman Arts Centre Gorman Arts Centre to Claudio Monteverdi Giuseppe Tartini 1692-1770 Ainslie Arts Centre Variations on Gavotte from 1567-1643 12.30pm Young peoples classes Adults classes Global Groove Lamento della Ninfa Corelli's Op.5, No.10, from (The Nymph's Lament) L'arte del arco 90 mins

Gerard Brophy b. 1953 Franco Donatoni 1927-2000 The Song Company Constantinopolis (2014) Lem Richard Black tenor Üsküdar Mark Donnelly baritone Anna Fraser soprano Eminönü Andrián Pertout b. 1963 Hannah Fraser mezzo Üc Horan Exposiciones for glockenspiel Susannah Lawergren soprano Andrew O’Connor bass Marching Steel Band International Guest Artists Ainslie Arts Centre

Gerard Brophy Darius Milhaud 1892-1974 Daniel Zapico theorbo Canberra’s Pro Drum Shop Trinity for violin, clarinet and La cheminée du roi René Anna McMichael violin piano (King René Goes Walking) Rohan Dasika double bass Op. 205 (1939) Christina Leonard saxophone Alice Giles harp Manuel de Falla 1876-1946 Cortège (Procession) Siete canciones popolares Rupert Boyd guitar Aubade (Dawn song) Españols Kaylie Melville glockenspiel Jongleurs (Jugglers) (Seven popular Spanish songs) Magdalenna Krstevska clarinet La maousinglade Kim Falconer flute El paño moruno Joutes sur l'Arc Edward Wang oboe (The Moorish Cloth) (Jousts on the river Arc) Justin Sun bassoon The Groove Warehouse is your one-stop Pro Drum Shop Seguidilla murciana James Bradley horn with awesome groovy brands, sales and service. Chasse à Valabre Asturiana (Hunt at Valabre) Roland Peelman piano Jota Madrigal nocturne Nana Canción Polo

This concert is supported by CHRISTINE GOODE The Groove Warehouse is proud to be a CIMF Festival Partner Boccherini Trio is supported by Carolyn Philpot The Song Company is supported by Dianne & Brian Anderson T_ 02 6260 2847 E_ [email protected] W_ groovewarehouse.com.au 41 La cheminée: a walk in Provence The title of Milhaud’s Suite Op. 205 has been that took place at his court. Although the the source of much confusion. Often translated composer studied several musical manuscripts as ‘fireplace’ or ‘chimney’, the wordcheminée is of the period, the writing of the La cheminée du actually related to cheminer, ‘to stroll' or 'to take roi René shows very little evidence of this. The a walk’, and refers in fact to René’s daily rituals in music was originally written for the 1939 film Provence. Cavalcade d'amour on a screenplay by Jean Anouilh and Jean Aurenche, set in the court of The castle and the court of René I, Count of René I in the 15th century. Milhaud contributed Provence, were situated in Aix-en-Provence, to the film score, and then used the material for birthplace of Darius Milhaud. Milhaud was this suite, which was first performed in 1941 at always fascinated by the history of the king, his Mills College, California. code of chivalry and the legendary tournaments

Exposiciones for Glockenspiel and Tape, no. 392d (2005, Rev. 2007) ‘Exposiciones’ for Sampled Microtonal Composition awards include the Friends & Schoenhut Toy Piano is an ‘acousmatic’ work Enemies of New Music Composition Prize that attempts to explore the equally-tempered (USA), Betty Amsden Award and Louisville sound world within the context of a sampled Orchestra Prize (USA). His music has been microtonal Schoenhut model 6625, 25-key toy performed in over forty countries by orchestras piano and a complex polyrhythmic scheme. that include the Melbourne and Tasmanian All equal temperaments between 1 and 24 – Symphony Orchestras, The Louisville essentially functioning as tuning modulations Orchestra, Jerusalem Symphony Orchestra, – as well as all polyrhythms (divisible only by Orquestra Petrobrás Sinfônica, Orquesta 1 and including their inversions) between the Sinfónica Nacional de México, Vietnam National ranges of 2 and 15 are presented. In 2005, the Symphony Orchestra, Orquesta Sinfónica work was arranged for Glockenspiel and Tape de Puerto Rico, Orquesta Sinfónica de Chile at the request of Australian percussionist Peter and Concepción, Logos Foundation Robot Neville. Orchestra, University of Hong Kong Gamelan Orchestra, La Chapelle Musicale de Tournai, In 2007, Andrián Pertout completed a Oare String Orchestra. PhD degree at the University of Melbourne.

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42 www.kvp.net.au Wednesday 4 MAY

In association with the Embassy of France concert 13 French Invention Invention française

Photo: Alexander Fernandes

Olivier Messiaen 1908-1992 Jean Françaix 1912-1997 FITTERS' Oraison (1937) String Trio WORKSHOP Allegretto, vivo 6.30pm Maurice Ravel 1875–1937 Scherzo, vivo 100 mins Cinq mélodies grecques (1914) Andante Rondo, vivo b. 1947 Tristan Murail Nadia Ratsimandresy Tigres de verre (1974) AP Jean Cras 1879-1932 ondes martenot Quintet for flute, string trio and Taryn Fiebig soprano 1875–1937 Maurice Ravel harp Roland Peelman piano Deux mélodies hébraïques Assez animé Virginia Taylor flute (1914) Animé Alice Giles harp Lent Boccherini Trio Konstantin Koukias b. 1965 Très animé Epirus – An Ancient Voice Suyeon Kang violin Florian Peelman viola for ondes & tape (2016) WP Paolo Bonomini cello INTERVAL

Festival music recording by Kimmo Vennonen, kv productions - a creative studio for clients across the arts

Specialising in quality CD mastering since 1996 plus innovative recording and award winning sound designs This concert is supported by HARRIET ELVIN & TONY HEDLEY Taryn Fiebig is supported by Susan & David Chessell Boccherini Trio is supported by Carolyn Philpot wp – world premiere Virginia Taylor is supported by Gudrun Genee AP – australian premiere 43 www.kvp.net.au Jean, Maurice, Jean et les autres Claude Debussy took great pride on being The 1928 Quintet for flute, harp and string called compositeur français. Maurice Ravel trio flows effortlessly, drawing on trademark on the other hand, born in the south west French expertise in harp and flute writing. From of France on the border of Basque country, the opening statement to the final flourish in thrived by adopting the mode and manner the Allegro, textures bristle with joy. This mood of different cultures. Some of his best known of unbridled expansion is maintained for the works took hispanicism to an entirely new duration of the four classically conceived level (Rhapsodie Espagnole, Bolero and much movements. Cras’ language may not be as more) but the sounds of the Middle East and, adventurous as Ravel’s, nor is his musical later in life, the sounds of American blues and discourse as eventful as Debussy’s. But he jazz also exerted a certain attraction. The understood the inherent playfulness of five fiveGreek songs, written between 1904 and instruments of this kind and created music 1906 on texts translated from the Greek by his that seduces the ear, entertains the mind, and friend Calvocoressi, aim to capture the simple, paints a classic picture of French elegance as ‘savage’ nature of Greek folklore, rather than the coined by Beaudelaire : ‘luxe, calme et volupté '. artistic remains of classic culture. Not unlike the paintings of the Fauves who aimed to capture Like Ravel, Cras died after illness in the 1930s. the wild authenticity of ethnic cultures,the Neither of them had been in the business of five songs are extremely concise and direct, teaching other composers, Cras because he yet vividly coloured. Likewise, the two Hebrew was too busy at sea, and Ravel because his songs, first performed in 1914, go to the heart personality was not particularly attuned to of Jewish chant, with minimal accompaniment other people’s needs or desires. Since 1918, the and long melismas. The lyrics of the first song mantle of composition tuition in France had are in Aramaic and come from the Jewish been well and truly donned by the fearsome prayer book. The second one ,’The Eternal Nadia Boulanger. Amongst the staggering roll- Enigma’, is based on a Yiddish verse. call of French and American composers who By the year 1914, most of Maurice’s friends studied with her (from Copland to Ginastera to had enlisted in the war effort, which prompted Glass!), she loved to single out Jean Françaix Ravel’s threefold attempt – ultimately futile – to as one of her very best. Ravel himself had once become a French soldier. The French Navy was confided to the young boy’s parents : "Among the natural home of Jean Cras, a remarkable the child's gifts I observe above all the most man by anyone's measure. His creative legacy fruitful an artist can possess, that of curiosity: extends beyond the world of music to the world you must not stifle these precious gifts now or of science and navigation. His five patented ever”. They did not, and he flourished: Françaix inventions include the gyrocompass, bearing his name and still in use to this day by the French became one of the most prolific French th navy, coast guard and boating afficionados. composers of the 20 century, surpassed only by Darius Milhaud (cf. Concert 23), writing over A twice-decorated hero of the Great War (Cras 200 pieces in a wide variety of styles. Françaix’s is credited with saving the Serbian army from String Trio from 1933 demonstrates youthful extinction during the Adriatic campaign), this zest, wit and a real intent to entertain. It could scientist, inventor, moral philosopher and Rear- be said that each piece by Françaix is a form of Admiral of the French Navy was also a highly esteemed composer, enjoying stature and divertissement, averse to grandiloquence or celebrity on a par with Fauré, Debussy or Ravel. pomposity, sometimes acerbic, often delicately Whilst his naval career prevented him from spiced but aways crystal clear. developing an orchestral oeuvre of magnitude, Roland Peelman 2016 his love for intricate detail ensured an exquisite catalogue of beautifully crafted chamber works.

44 Oraison (ou l'Eau) (1937) for ondes & piano In 1928 Maurice Martenot devised an early electronic instrument, somewhat similar in sound to the theremin, its eerie wavering notes produced by varying the frequency of oscillation in vacuum tubes. Messiaen was the first major figure to exploit the possibilities of the new instrument with an ondes Martenot sextet written for the 1937 Exposition Universelle in Paris: Fête des Belles Eaux (Feast of the beautiful waters). Oraison (Prayer), subtitled l’Eau (Water), is no more than a long musical phrase taken from this sextet, describing the serene state of water, "a symbol of grace and eternity" in Messiaen’s own words. Five years later, this ecstatic solo piece would become the fifth movement of theQuartet for the End of Time (1941): Louange à l'éternité de Jésus. The production of the instrument stopped in 1988, but it continues to be taught in France. In 1997 the Ondéa project began designing an instrument based on the ondes Martenot. Since the Martenot name is still protected, the new and operational characteristics of the original instrument is called Ondéa, but has the playing ondes Martenot.

Epirus - An Ancient Voice (2016) The rugged mountainous northwest region of two recordings of Vasiliki’s singing that were to ancient Greece was known as Epirus, meaning become the basis of this new work: a lament ‘mainland’ or ‘terra firma’ as opposed to Corfu (mirolóyia) and a shepherd’s song (skaros). and the Ionian islands off the coast. By the Recorded in Hobart, Tasmania in 2000, Vasiliki’s end of World War I, the region was left divided recorded voice evokes the family’s ancient between southern Albania and north-western Epirian roots, transformed electronically Greece. It is here that Konstantin Koukias’ against the ethereal sound of the Onde, from mother Vasiliki was born and raised. Before her the composer’s new home in Amsterdam. passing away in 2007, her son Konstantin made

Tigres de verre (1974) Tigers of Glass is a title taken trom Tlön, Uqbar, objects. High notes make low notes appear, Orbis Tertius by the Argentinian writer Jorge- legato moves toward staccato, long notes Luis Borges. This ondes-piano duet, written for gradually become trills. The piano plays a mainly the Onde Martenot exam at the Conservatoire percussive role and its sympathetic resonances in Paris in 1974, draws on resonances of the are widely used. note A which move apart to recompose new

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Canberra CBD Limited presents in association with the Embassy of Mexico and the National Capital Authority concert 14 SOUNDS ON SITE - Garema Place

Bree van Reyk b. 1978 and Garema Place Lauren Brincat b. 1980 12.30pm ‘No Performance Today’ 60 mins

Jessica Wells b. 1974 Moon Fire (2016) WP relayed from The National Carillon Lyn Fuller carillon Band of the Royal Military College, Elena Kats-Chernin b. 1957 Duntroon Beaver Blaze (2007) led by Captain Matthew O'Keeffe Drumming sequence Festival Drummers Tambuco Percussion Ricardo Gallardo Alfredo Bringas Miguel González Raúl Tudón

wp – world premiere

47 Betty Beaver and the Festival Blaze Betty Beaver is a stalwart of arts and music in Canberra. A trained cellist and an experienced art entrepreneur (her ownership of the private Beaver Galleries dates back to 1975), Betty's personal commitment to art and music have earned her a central place in Canberra’s annual Music Festival. Her involvement with the Festival goes back to the very origins of Pro Musica in 1994. By 2007, the idea had emerged to commission a Betty Beaver short piece that would lift the spirit of the Festival’s with 2015 Composer-in-Residence Kate Moore opening concert, and the idea took hold. Between Photo: Peter Hislop 2007 and 2014 Elena Kats-Chernin wrote no less than seven different realisations of the Beaver Blaze for instruments as diverse as brass quintet or baroque orchestra. For the 2015 Festival, Kate Moore, as composer-in-residence, wrote ‘The Dam’ combining baroque and modern instruments. This year’s Beaver Blaze is ‘Dervish’ by Gerard Brophy, featured in Concert 1, Tango Tambuco.

No Performance Today No Performance Today is a performance work for marching band created by Bree van Reyk and Lauren Brincat. The work was initially commissioned by the Museum of Contemporary Art, Sydney, and Performance Space. No Performance Today gently unravels the sonic and movement cohesion of the marching band – a regimented, rigid entity – to draw attention to the idiosyncrasies that lie within this collective of individuals. In place of their usually strict attention to order, precision, synchronicity and formality the performers are instead invited to improvise, move freely amongst the audience and create their own musical journeys.

Jessica Wells Jessica Wells was born in Florida, USA in 1974 and migrated to Australia at the age of 11. She completed her Bachelor of Music degree in Composition at the Sydney Conservatorium of Music in 1996 and graduated with first class honours. This was followed by a Master’s Degree in Composition under Dr. Bozidar Kos completed in 1998. After teaching composition at the Conservatorium for four years, she spent time living in Antwerp, Belgium and then returned to Sydney in 2003. She then completed a Masters in Screen Composition at the AFTRS (Australian Film, Television and Radio School) in 2005, and was awarded the Film Critic's Circle Award for "Best Display of Technical Excellence" for her work on eight short films. Jessica's compositions cross many genres in the classical, commercial and film music worlds. She has worked for some of Australia's best composers as an orchestrator, arranger and copyist.

48 Thursday 5 MAY

With the assistance of Acción Cultural Española, the Embassy of Spain and the Embassy of the United States of America concert 15 El Camino

Photo: Gerard Brophy

Alfonso X el Sabio 1221-1284 Isaac Albéniz 1860-1909 FITTERS' Three Cantigas Cadiz WORKSHOP No. 10 Rosa das rosas Sevilla 6.30pm No. 390 Sempre faz o mellor 80 mins No. 1 Des oge máis Manuel De Falla 1876-1946 Danza Omenaje J.M. Gallardo del Rey José María Gallardo del Rey guitar Traditional flamenco music F. Moreno Torroba 1891-1982 The Song Company Madroños Richard Black tenor Einojuhani Rautavaara Mark Donnelly baritone b. 1928 Anna Fraser soprano Lorca Suite (1973) Op. 72 Gerard Brophy b. 1953 Hannah Fraser mezzo Canción de jinete Canticles (2016) WP Susannah Lawergren soprano Commissioned by Andrew O’Connor bass (Song of the horseman) Margaret & Peter Janssens Vocal Young Artists El grito ¿ Hasta cuándo ? (The scream) Para Todas Tambuco Percussion La luna asoma Balat Lament Ricardo Gallardo cajon (The moon appears) Miguel González Malagueña Raúl Tudón

directed by Roland Peelman

This concert is supported by MARGARET & PETER JANSSENS The Song Company is supported by Dianne & Brian Anderson wp – world premiere 49 El Camino di Santiago Three Cantigas Embarking on a long trip in the Middle Ages was No serious scholar ever suggested that the not uncommon, though often arduous and Cantigas de Santa Maria is the work of one almost always driven by religious fervour or the single author, let alone an author with many need to pay penance. The Holy See and the other things on his royal plate. But the sheer graves of Peter and Paul represented a worthy size and consistent quality of the collection destination for Christians in Europe. Since 'all is baffling: 420 songs, each one carefully roads lead to Rome', the Via Francigena stood conceived to fit an elaborate overall scheme, for more than one single road. As the name and as considered from a narrative, poetic and suggests, the journey involved France but often musical perspective as can be. Interestingly, started as far back as Canterbury in England the language used is not Alfonso’s Castilian and would traverse Switzerland or Lombardy but Galician, a language closer to Portuguese on the way to Italy. From the early centuries of and considered ideal for lyric poetry up to the Christianity onwards, the road to Jerusalem and 15th century. And here lies the miracle of the the sites of Jesus' life represented a much more cantigas: in spite of the religious nature of the momentous pilgrimage. Once the city became texts, the songs look and sound like secular part of the Islamic world, such pilgrimages melodies suited to the court or the bedroom turned perilous if not impossible. Over a series even, rather than the church. of Crusades, Western Europe assembled the “ … and once the king and queen have taken largest military force since the fall of the Roman their place on the balcony (…) let the cantors Empire. Jerusalem nowadays is a place for begin the office of the mass (…) And after pilgrims of many different nominations. the Gloria and Kyrie have been sung, and In comparison, the Way (Camino) of the Collect and the Epistle and the Alleluia, St. James (Santiago) was far easier to let young women come out, who know how negotiate. Associated with a saint who not to sing well, and let them sing a ‘cantiga’ and only was close to Jesus, but who was the do their entertainment….” . first apostle to be martyred on the order of This often-quoted passage alludes to the fact Herod the Great as recorded in the Bible, the that women did sing in church on occasions, pilgrimage offered relative safety as well as and that there was not only singing involved, indispensible indulgences, and is credited but also dancing. Typically these rhythms have with the evangelisation of Spain. The evidence to be deduced out of the structure that the of James ever having been in Spain at all, or words and the musical neumes provide us. 750 having initiated the wholesale evangelisation years on, this is not an easy task. The extent is tenuous at best. But the story goes that of Arabic influence in particular has been a the remains of James were carried by boat to source of much debate. There is evidence that Northern Spain and buried there. Early in the 9th as many as half the musicians employed at century the tomb was discovered and a church the court were Arabic, but there is also a fairly and monastery were built on the site. The common consensus now that the immediate location not far from Cape Finisterre ('end of compositional models for form and style of the the earth') gave it mythical significance and the cantigas are Provençal and Galician. Suffice it city of Santiage de Compostela made Galicia to say that the mix of local southern European a popular destination. Over time its attraction Christian traditions together with the Sephardic waned but the destination, and above all, the experience and the all too visible Arabic journey was re-invented in the 1980s as a presence in Andalusia created something hotspot for spiritual renewal with some very unique and very potent. attractive tourist options along the way. Roland Peelman 2016

50 Canticles (2016 ) A few years ago my wife Jill and I embarked Canticles is cast in three movements: the upon a section of the Portuguese Camino first,¿Hasta cuándo?, focuses on hope walking from Porto to Santiago de Compostela. and abandonment and freely adapts an It was a memorable and, at times exhilarating, excerpt from Psalm 13 set in Spanish. The experience. Our relief was palpable as we second, Para Todas, is by far the longest of trudged the final few kilometres. the three, and employs excerpts drawn from Ecclesiastes 3, again set in Spanish and again So I was bemused as well as delighted when freely adapted. The text of Balat Lament is Roland invited me to compose a piece for in Turkish, a piece of graffiti that I discovered tonight’s El Camino concert. However my not far from my Istanbul abode. Out of a sea of better instincts immediately suggested that frenzied scribbles in both Kurdish and Turkish, a number of degrees of separation might ranging from the political to the lovelorn, a be called for. This piece is a refraction of my vermilion incitement overwhelmed all the other Camino experiences through other recent messages: NE ZAMAN NAMAZ KILACAKSIN spiritual experiences that have arisen from – When will you pray? This desperate spray- extended periods in Istanbul and Calcutta. canned exhortation was a poignant reminder of Rather than compose a mere depiction of our the precarious position that Turkey now finds journey, I busied myself with broader emotional itself in. matters that may be experienced by Camino walkers: hope, abandonment, loss, the gaining Gerard Brophy 2016 of wisdom and a reflection on the mysterious nature of prayer itself.

Photo: Jillian Brophy

51 Canberra Weekly is a proud sponsor of the 2016 Canberra International Music Festival

52 Friday 6 May

FRIENDS OF THE ANU SCHOOL OF MUSIC present in association with the Australian National Botanic Gardens concert 16 SOUNDS ON SITE – Gardens of Delight

Rainforest Australian National Botanic Gardens ANU Experimental Studio Jack Body 1944-2015 Électropiques naturelles Jibrail 12.30pm 90 mins Daisy Garden

Jean Françaix 1912-1997 Martin Kay b. 1972 ANU Experimental Studio Petit quatuor Olfieg Vocal Young Artists

Gerard Brophy b. 1953 Continuum Sax Apollogy Christina Leonard James Nightingale Eucalyptus Lawn Martin Kay Nicholas Russoniello 1946-1998 1942-2008 Gérard Grisey Horaţiu Rădulescu Speak Percussion Stèle (1995) The Origin (1997) Eugene Ughetti duo for 2 x bass drums for two bass drums Kaylie Melville Location to be discovered Kim Falconer Flute Jindřich Feld 1925-2007 Quatre pièces pour flûte Meditation Caprice Intermède (Hommage à Bartók) Burlesque

This concert is supported by MARJORIE LINDENMAYER 53 Apollogy (2003) The seeds for this piece were sown with the creation of NRG for solo bass clarinet, which was commissioned by, and dedicated to, my dear friend and colleague Henri Bok in 1997. In essence, NRG is a piece possessed by a relentless headlong momentum as it runs helter-skelter to its conclusion. I thought that this strategy and the associated musical materials could translate well into an ensemble piece, and particularly one involving saxophones, so when I was approached by the Apollo Saxophone Quartet to write a piece, the die was cast. Apollogy was commissioned by the Apollo Saxophone Quartet and the Royal Northern College and was premiered in January 2003. Gerard Brophy 2016

Jibrail (2008) On the last day of the 2015 Festival, May 10, Jack Body passed away. The evening before The Song Company and the New Zealand String Quartet had performed his final work CRIES:‘ A Border Town’. The work expressed both his fears and his quiet determination to cross the border in his own way. It could be argued that crossing borders, and helping other people cross borders, was the central tenet of his creative lifespan. Raw musical material from ethnic minorities around the world often provided him with inspiration for new work. Even a simple medieval carol such as the Carol to St Stephen (1975) would prompt him to create a new soundworld. Jibrail, written for 8 voices and a gong in 2008, calls on the angel Gabriel, but in the name’s Islamic pronunciation as ‘Jibrail’. The angel's name is called and sung as a form of evocation, arguably the closest Jack ever got to religion since his days as a 20-year-old organist at St. Aidans in Remuera, before a wider world of music lured him away and changed him forever.

Stèle (1995) By the time of his early death at the age of 52, only one CD of Gerard Grisey’s music had been recorded. His single-minded pursuit of musical authenticity in a post-serialist world led to few works, but each of his works has become a beacon of special interest. Grisey was a very erudite and witty man, and the reports of his composition classes in Paris were often hilarious. His last class in November 1998 was no less so, yet he spoke of Messiaen’s death. A few days later Grisey himself was no longer. Three years earlier he had written Stèle for the in memoriam concert of the young composer Dominique Lorcin who had died after a long illness at the age of 33. Grisey surprised everyone with this work for two bass drums to be played from a distance, one of medium size and one large. The latter is draped with a string of wooden beads to ‘dirty’ the sound. As for the Indian tabla or mridongam, different places on the stretched skin of the bass drum are used to vary the colours. Finally, six sticks of different hardness, thickness, and material (wood, felt, bundled dowels of the ‘hot rod’-type) are used as well as two types of brushes.

The Origin (1997) In the late sixties, the Rumanian composer Rădulescu moved to Paris in the late sixties where he found a sympathetic environment for advanced spectral exploration. The scientific analysis and creative use of upper partials moved modernist music into new territory at that time. Yet, this is where the comparison with Murail and Grisey stops. Rădulescu's structural approach, particularly after the consistent reference to the Tao Te Ching of Lao-tzu in his later work, and particularly the re-integration of Romanian folk elements, reveals a poetic romantic mind married to a radical brain.

54 Friday 6 May

With the assistance of the Embassy of Italy, the Italian Cultural Institute and Acción Cultural Española concert 17 The Battle of the Sexes

Claudio Monteverdi 1567-1643 FITTERS' Il combattimento di Tancredi e Clorinda (1624) WORKSHOP (The Combat of Tancred and Clorinda) 7.30pm Testo – Marco Beasley tenor 80 mins Clorinda – Taryn Fiebig soprano

Tancredi– David Greco baritone Taryn Fiebig soprano Forma Antiqva & Festival strings Marco Beasley tenor David Greco baritone Giovanni Baptista Pergolesi 1710-1736 Clive Birch - actor La serva padrona (1733) Forma Antiqva (The Maid Turned Mistress) Aarón Zapico harpsichord theorbo Serpina – Taryn Fiebig soprano Daniel Zapico Pablo Zapico guitar Uberto – David Greco baritone Vespone - Clive Birch Festival strings Directed from the keyboard by Forma Antiqva & Festival strings Aarón Zapico

Claudio Monteverdi Lighting: Neil Simpson Lettera amorosa (1619) Mural artwork: James Harney (Love Letter) Set construction: Stuart Grigg : Marco Beasley tenor Costume design Ashleigh Vissell Headdress design: Benja Harney Daniel Zapico theorbo Wedding cake design: Veronica Moore Production directed by Leonie Cambage

This concert is supported by MARJORIE LINDENMAYER Taryn Fiebig is supported by Susan & David Chessell 55 Il combattimento di Tancredi e Clorinda (1624) (The Combat of Tancred and Clorinda) The fictional story of is drawn from Torquato into an epic hero. He falls in love with the pagan Tasso’s epic poem Gerusalemme Liberata warrior-maiden Clorinda after her dramatic (Jerusalem Freed - 1581) about a number of intervention that saves the lives of his fellow Christian knights on their way to the Middle Christians. During a night battle however she East, their initial disunity and setbacks and sets the Christian siege tower on fire. In the their ultimate success in capturing the city of ensuing combat, she is mistakenly killed by Jerusalem in 1099. Tancred and converts to Christianity as she lies dying. The historical Tancred (1075-1112) is a Norman leader from the first Crusade turned by Tasso

La serva padrona (1733) (The Maid Turned Mistress) Part I Part II Uberto has been waiting three hours for his To make Uberto jealous, Serpina persuades servant Serpina to bring his morning chocolate. Vespone to pretend to be her suitor, in the guise He sends his mute valet Vespone to summon of a soldier. A seemingly repentant Serpina then her. Serpina enters in a temper (without the tells Uberto his troubles will soon be over, as chocolate), insisting she be respected and she has found herself a husband – the brutish revered. Uberto can stand her impudence no Captain Tempest. She goes to fetch Vespone, longer. To free himself from Serpina’s tyranny, leaving an utterly perplexed Uberto to ponder he declares he must find a wife at once.S erpina his true feelings for her. is delighted, and promptly offers to marry Returning with the ‘Captain’, Serpina demands him herself. Part One ends with Uberto firmly a dowry of 4000 crowns. Uberto is outraged. resisting Serpina’s efforts to convince him of But, when faced with either paying the dowry or her charms. being cut to pieces by the ferocious Captain, he Entr'acte: wisely agrees to marry Serpina himself. When Francesco Geminiani 1687-1782 the trick is revealed, an astonished Uberto Violin Solo C major declares he is glad to have been deceived, and Anna McMichael violin a triumphant Serpina rejoices she is mistress at last.

Lettera amorosa (1619) (Love Letter) One of two monologues in Monteverdi's than not results in performances by female Seventh Book of Madrigals, the piece carries singers. However, the title given by the poet, the inscription:“for solo voice, in theatrical Claudio Achillini, leaves no room for doubt: "A style, to be sung without a regular beat”. The gentleman, impatient at his delayed nuptials, composer's choice of a high voice more often writes this letter to his most beautiful bride."

56 On Theatre in Music When a string is divided in two, a new note is ‘represent’, i.e. to reflect the letter and spirit produced above the fundamental tone, exactly of the text, and fuse music with drama and an octave higher. They often blend so well, you movement. may not even notice. Pythagoras drew our Opera, particularly once the burghers of attention to this simple natural phenomenon Venice made it their own preferred form of 2,500 years ago. More recent discoveries entertainment, forced music to adopt a more have unlocked the secrets behind the binary overtly theatrical style. Either by wallowing in processes inside our brain, the way they virtuosic showmanship (the cult of the long define human intelligence or the workings of limbed castrati), or by reinventing the twists our computers. Genetically disposed to see and turns of hard won ‘rhetorica’, a dynamic the world in two parts (north and south, rich and direct relationship between performer and and poor, water and land), we similarly love to audience was forged. You might well say that pinpoint a defining moment in our history that theatre and music had always been willing bed clarifies our own position: Columbus setting partners and that the rolling hexameters of the foot on American soil in 1492 or the march on oldest epics in Western civilisation were once the Bastille and the subsequent sharpening sung by a mythical bard called Homer. Indeed, of the guillotine in 1789. The birth of opera in music does not exist without performance. It Northern Italy around 1600 is a phenomenon needs charismatic, divinely gifted musicians to that has similarly divided many a musical history take up Orpheus’ lyre again and again. book into two: before and after. Three thousand years after Homer, driven by Indeed, something new was brewing. the digital revolution and a 24/7 media cult, Monteverdi called it the seconda prattica society has become another incarnation or ‘second practise’, as distinct from the old of Shakespeare’s dictum “All the world’s a church-like polyphonic ways. In the preface to stage”. We now find ourselves in a continuous his Eighth Book of Madrigals (which cointains theatre of Everyman’s trivially contrived tonight’s Combattimento) he calls it the reality. Late-night yawns are as much part of stile rappresentativo, the need for music to

57 the performance as early morning bathroom enough, a celebrated episode from Tasso’s routines. A dog doing a dance routine on crusader epic : Tancred, a Christian knight, falls hindlegs can create a FaceBook following in love with Clorinda, an Arab princess. Being in overnight. So, in this day and age, how do you opposing camps and concealed in full armour, explain the difference between a violinist they engage in combat during which Clorinda is with colourful stage histrionics and a circus fatally wounded by Tancred. clown with uncanny ability on the trombone? The composer sets up a double device: a Paganini’s devilish podium demeanour and narrator who in as lively fashion as possible Liszt’s fay but grand gesticulations in the 19th paints the action in words and music, versus century concert halls paved the way for musical the action of the protagonists themselves. spectacle that wouldn’t just please the ear, but Either level can be perceived as foreground also excite all the other senses. The magnetism or background, the narration as voice-over in exuding from the great romantic virtuosi must modern cinema terms, or as ‘singing head’ à la have been every bit as overwhelming as the Alan Bennett. The tragic fight between Tancred teenage hysteria that welcomed the Beatles in and Clorinda can be seen and heard as realistic Australia. action or as a dramatic shadow of the narration Great artists make you watch and listen. When we are told. It is as if Monteverdi sensed the we are in the presence of that undefinable eternal ambiguity between music which needs quality that hints at alchemy, even forbidden a live performer to exist at all, and theatre substances, we might close our eyes and which by definition requires the presence of an blissfully drift away. But closing our ears audience as a sounding board. We can close would be more difficult. Imagine yourself in our eyes and hear the play unfold, or we can the early days of opera, long before electric observe and empathise with the narrator’s skill power made everything visible, listening to the and compassion. He becomes our interlocutor, trotting of the horses and the clattering of the the person who looks us in the eye and invites weapons in Monteverdi’s Combattimento, us inside the tableau to become active clever sophisticated string innovations they participants in a piteous tale. were. But it would mean nothing if it were not Roland Peelman for the dramatic framework. The story is simple

58 Saturday 7 May

With the assistance of the Embassy of the United States of America concert 18 Vivaldi Unseasoned

Antonio Vivaldi 1678-1741 FITTERS' Concerto Op. 3 No. 10 in B Concerto for 2 cellos in G WORKSHOP minor for four violins, cello minor RV 531 11.00am and strings, RV 580 - from Allegro 75 mins L'Estro Armonico Largo Allegro Allegro Largo Anna Fraser soprano Allegro Anna McMichael violin Cantata RV. 684 for alto, Boccherini Trio Trio sonata for violin, lute and strings and continuo Suyeon Kang violin continuo in C RV 82 "Cessate, omai cessate" Florian Peelman viola Allegro non molto Paolo Bonomini cello Larghetto Forma Antiqva Allegro Aarón Zapico harpsichord Concerto Op. 3 No. 11 in D Daniel Zapico theorbo minor for two violins, cello Credo in E minor RV 591 - YA Pablo Zapico guitar and strings and strings, RV 565 - from L'Estro Armonico Young Festival Artists Credo in unum Deo Allegro - Adagio spiccato Directed by Aarón Zapico Et incarnatus est e tutti - Allegro Crucifixus Largo e spiccato Et resurrexit Allegro

This concert is supported by KOULA NOTARAS, JENNY & EMMANUEL NOTARAS Boccherini Trio is supported by Carolyn Philpot 59 The Red Priest The creator of hundreds of spirited, extroverted but other motivations have been proposed; instrumental works, Italian composer Antonio perhaps Vivaldi simply wanted to explore new Vivaldi is widely recognized as the master of opportunties as a composer. the Baroque instrumental concerto, which he It didn't take him long. Landing a job as a violin perfected and popularized more than any of teacher at a girls' orphanage in Venice (where his contemporaries. Vivaldi's kinetic rhythms, he would work in one capacity or another during fluid melodies, bright instrumental effects, and several stretches of his life), he published a set of extensions of instrumental technique make trio sonatas and another of violin sonatas. Word his some of the most enjoyable of Baroque of his abilities spread around Europe, and in 1711 music. He was highly influential among his an Amsterdam publisher brought out, under the contemporaries and successors: even as title L'estro armonico (Harmonic Inspiration), a esteemed a figure as Johann Sebastian Bach set of Vivaldi's concertos for one or more violins adapted some of Vivaldi's music. Vivaldi's with orchestra. These were best sellers (it was variable textures and dramatic effects initiated this group of concertos that spurred Bach's the shift toward what became the Classical transcriptions), and Vivaldi followed them up style; a deeper understanding of his music with several more equally successful concerto begins with the realization that, compared with sets. Perhaps the most prolific of all the great Bach and even Handel, he was Baroque music's European composers, he once boasted that arch progressive. Though not as familiar as his he could compose a concerto faster than a concerti, Vivaldi's stage and choral music is still copyist could ready the individual parts for the of value; his sometimes bouncy, sometimes players in the orchestra. He began to compose lyrical Gloria in D major (1708) has remained operas, worked from 1718 to 1720 in the court of a perennial favorite. His operas were widely the German principality of Hessen-Darmstadt, performed in his own time. and traveled in Austria and perhaps Bohemia. Details regarding Vivaldi's early life are few. Throughout his career, he had his choice of His father was a violinist in the Cathedral of commissions from nobility and the highest Venice's orchestra and members of society, the probably Antonio's ability to use the best first teacher. There performers, and enough is much speculation business savvy to try to about other teachers, control the publication of such as Corelli, but no his works, although due evidence to support this. to his popularity, many Vivaldi studied for the were published without priesthood as a young his consent. Later in life man and was ordained Vivaldi was plagued by in 1703. He was known rumors of a sexual liaison for much of his career with one of his vocal as "il prete rosso" (the students, and he was red-haired priest), but censured by ecclesiastical soon after his ordination authorities. His Italian he declined to take on career on the rocks, he his ecclesiastical duties. Il Prete rosso Compositore di Musica che fece L’opera a headed for Vienna. He Capranica del 1723 [The red priest, composer of music Later in life he cited ill who made the opera at Capranica of 1723]. Pier Leone died there and was buried health as the reason, Ghezzi, 1723;in the Codex Ottoboni, Vatican Library, Rome. as a pauper in 1741.

60 Saturday 7 May

In celebration of the Bicentenary of Independence the EMBASSY OF ARGENTINA presents concert 19 Argentina MÁgica Celebrating Alberto GinAstera 1916-1983

Alberto Ginastera 1916-1983 FITTERS' Pampeana No. 1 Op. 16 for violin and piano (1947) WORKSHOP Criolla from Op. 6 (1940) 2.30pm Five Songs (1938-43) 100 mins Canción al árbol del olvido Op. 3 No. 1 (To the Tree of Oblivion) Louise Page soprano Canción a la luna lunanca Op. 3 No. 2 (To the Lopsided Moon) Javier Vilariño Baritone Triste Op. 10 No. 2 Suyeon Kang violin Zamba Op. 10 No. 3 Paolo Bonomini cello Chacarera Op. 10 No. 1 Rohan Dasika double bass Malambo Op. 7 (1940) Andrey Lebedev guitar Alice Giles harp Sonata for guitar Op. 47 (1976) Marcela Fiorillo piano Esordio Kim Falconer flute Scherzo Edward Wang oboe Canto Magdalenna Krstevska clarinet Finale Justin Sun bassoon James Bradley horn INTERVAL Speak Percussion Serenata for baritone, cello and chamber ensemble Op. 42 (1973) Eugene Ughetti on poems by Pablo Neruda Kaylie Melville Poético Fantástico Directed by Roland Peelman Drammatico

This concert is supported by MANDY & LOU WESTENDE Louise Page is supported by David Geer Javier Vilariño is supported by David Geer Andrey Lebedev is supported by Muriel Wilkinson & June Gordon 61 Alberto Ginastera at 100 (1916–1983) Malena Kuss (2016) “To compose, in my opinion, is to create an architecture, to formulate an order and set in values certain structures, considering the totality of its components. In music, this architecture unfolds in time …. When time has passed, when the work has unfolded, a sense of inner perfection survives in the spirit. Only then can one say that the composer has succeeded in creating that architecture.” (Alberto Ginastera, 8 April 1982, translated by Malena Kuss.)

For all the immediacy of expression, instrumental virtuosity, and outward exuberance associated with his music, Ginastera viewed composition as a slow and painful process of transforming, “en noir sur blanc,” his initial mercurial visions into intricately ordered canvases of sound. His meticulous manner and “unflappable, pristine and logical mind, an elegantly furnished Bauhaus mind”—as Alberto Ginastera (1916-1983). Donal Henahan called him in an interview for The Drawing: Francisco Rivera. New York Times Magazine—were often made to stand in puzzling contradiction with the unrelieved, dramatic intensity of his music. However, the “tremendous contrast between the outer personality and the inner man” that Aaron Copland once suggested, appears less marked if viewed as characteristic of a noted generation of Latin American artists who were steeped in the cultural legacy of Europe while, at the same time, seeking to unlock the expressive potential of their own cultural past. At the hospital in Geneva where he spent the last weeks of his life and where I visited him for the last time in May of 1983, Ginastera passed his idle hours jotting down ideas and projects for the future. In the booklet that his wife Aurora Ginastera called the Cahier d’hôpital, we read, “In his music the composer reveals his spiritual life.” A centenary invites retrospectives, taking stock, and reflections on a legacy. The Canberra International Music Festival has chosen to honor Ginastera’s oeuvre in 2016 with three expressive modalities in the composer’s creative journey which also pay homage to the rich musical legacy of his native Argentina. A group of early works of arresting beauty and rhythmic drive that propelled Ginastera to international fame, summon stylized features of Argentina’s rural folk traditions that played a major role in forging Ginastera’s complex musical language. These are the Pampeana No. 1; “Criolla”; five early songs that include Op. 3 (1938) and “Triste” (II), “Zamba” (III), and “Chacarera” (I) from Op. 10 (1943); and Malambo. The Pampeana No. 1, a rhapsody for violin and piano, Op. 16 (1947), whose theme presages the theme for cello and harp that opens Variaciones concertantes, Op. 23 (1953), features, as does Variaciones, the guitar tuning as accompaniment. This melodic/harmonic gesture, a marker of cultural identity, pervades Ginastera’s early works, and also surfaces in the language of other Argentinian composers. Ginastera wrote his firstPampeana while in New York (1945–1947) as a recipient of a Guggenheim fellowship that enabled him to spend over a year in the United States, establishing relationships that would support his music for a lifetime.

62 “Criolla” (1937), from Tres piezas para piano, Op. 6 (1937–1940), is dedicated to Mercedes de Toro, who was to become his first wife in 1941. In this early piano piece, Ginastera quotes an unidentified setting of traditional poetry:

Dicen que los ríos crecen They say rivers swell cuando acaba de llover; after it rains así crecen mis amores just as my love grows cuando no te puedo ver. when you’re not with me.

“Canción al árbol del olvido” Op. 3 (1938), on poetry by the Uruguayan Fernán Silva Valdés (1887- 1975), and the Cinco canciones populares argentinas, Op. 10 (1943), are staples of the Latin American song repertoire. In these widely performed jewels, Ginastera summons Argentina’s archetypal folk genres to interpellate the expressive range of the nostalgic “Triste” (II), amorous courtship in “Zamba” (III), and the spirited “Chacarera” (I). The “Triste,” as a cryptic reference to submission to fate and unrequited love, quoted by the viola in the fourth movement of the Second String Quartet, Op. 26 (1958), provides the clue to the secret program that associates Ginastera’s first partially 12-tone composition with Alban Berg’sLyric Suite (1926), also his first large-scale incursion into the method.

Malambo, Op. 7 (1940), dedicated to the Uruguayan pianist Hugo Balzo, is a virtuoso piece in the tradition of Bartók’s Allegro barbaro (1911) and Villa-Lobos’ Pulcinella (1918). As the archetypical male dance of bravura from Argentina’s rural folk tradition, it conjures up the rhythmic energy that Ginastera summoned repeatedly in final movements of his works, most notoriously in the brilliantly orchestrated “Danza final (Malambo)” that closes his balletEstancia , Op. 8 (1941) with spoken texts from Martín Fierro by José Hernández (1843–1886). A foundational epic poem, Martín Fierro is to Argentina what Dante’s Divine Comedy is for Italy and Cervantes’ Don Quixote represents for Spain. Symbolically, Ginastera’s Malambo por piano starts with the melodic series of the six-string guitar tuning: E – A – D – G – B – E. The Sonata for guitar, Op. 47 (1976), was commissioned by and is dedicated to the Brazilian virtuoso guitarist Carlos Barbosa-Lima. In the Ginastera Collection at the Paul Sacher Stiftung in Basel, Switzerland, which I organized in 1988, and among several guitar treatises Ginastera consulted before writing this sonata, we find the following note in the composer’s hand: Como“ con una guitarra se pueden hacer muchas cosas (aún un buen asado), el resto de las aclaraciones serán a nivel personal.” ("Given that many things can be done with a guitar, including a good barbecue, the rest of the clarifications will be communicated personally.") In four movements, Ginastera pays homage to the national instrument. The introductory and improvisatory “Esordio” abounds in references to the guitar tuning. The “Scherzo” that follows summons the fleeting hallucinatory mood Ginastera had conjured up in previous works, notably the second movement of the first piano sonata (“Scherzo”), the third movement of the Second String Quartet (“Presto magico”), and the “Ballet erotico” in Bomarzo (II, 11, “El Sueño"). As in a pantomime, a perpetual motion serves to insinuate gestures associated with the guitar and its history, only to stop for a phantasmagoric appearance of Sixtus Beckmesser and the tuning of his lute in Wagner’s Meistersinger von Nürnberg. The third movement, a “Canto,” fulfills the lyrical requirement before launching another fast and furious “Finale.” The Serenata for baritone, cello, and small chamber orchestra, Op. 42 (1973), on Veinte poemas de amor y una canción desesperada (1924) by Pablo Neruda, is dedicated to Ginastera’s second wife, Aurora Nâtola.

63 “In the verses of the great Pablo Neruda I met the palabras iluminadas, as the poet called them in his “Exégesis y Soledad” introducing the Twenty Love Poems and a Song of Despair. I have tried in my Serenata—and here I paraphrase the poet—to bring ever closer together my thought and its expression” (“Notes” to the Serenata in the unpublished score, New York, Boosey and Hawkes, Inc.).

In his setting, Ginastera weaves a fabric of iridescent sounds to “meet” the words of the Chilean laureate. He freely rearranges poetic fragments to create verbal images that imprint a changing dramatic character on each of the three movements (Poético, Fantástico, Drammatico). Superimposing a new order on Neruda’s poetry, the images progress from the simple quietude of the “Poético,” and through the susurrant, restless wind metaphors of the “Fantástico,” to the inexorability of dusk, separation, and solitude in the “Drammatico.” The cello opens the third movement with a dramatic cadenza concertante that, extended to other instruments in the ensemble, leads to the sorrowful closing poem and to a recapitulative coda for both soloists. The work was commissioned by The Chamber Music Society of Lincoln Center and premiered at New York’s Alice Tully Hall on January 18, 1974, with cellist Aurora Nâtola-Ginastera and bass Justino Díaz, conducted by the composer. The continuities created by the labyrinthine paths running through many of Ginastera’s works dismantle any attempt at confining his creative journey into the procrustean bed of “three stylistic periods,” a discursive gesture Ginastera himself offered in 1967 as taxonomical crutch and retracted in 1980 and 1981, mostly because two of those periods nefariously branded him as a “nationalist,” a label he vehemently rejected. Crucial for an understanding of Ginastera’s music is his belief in:

“... Art in general and music in particular as a compositional act of pure creation lodged in a transcendental thought, a specially defined aesthetic element that would then enable a composition, stemming from different times and styles, to eclipse the passing of time.” © Malena Kuss 2016

Malena Kuss Internationally renowned Ginastera scholar and expert in Latin American music, Malena Kuss is Professor Emeritus of Musicology, University of North Texas, Denton (1976–2000); Vice President of the International Musicological Society (2009–2017); founder and coordinator of the Regional Association for Latin America and the Caribbean of the International Musicological Society (2012–2016); and Ph.D., Historical Musicology, University of California at Los Angeles (1976). As a specialist in 20th-century music in general and Latin America in particular, she has published more than 60 articles on music historiography, compositional approaches to the incorporation of folk elements in operas, pitch organization in works by Ginastera, and musical traditions in cultural contexts. Her collaborative history of performing traditions in Latin America and the Caribbean (Performing Beliefs: Indigenous Peoples of South America, Central America, and Mexico; and Performing the Caribbean Experience, both published by University of Texas Press in 2004 and 2007) gathered contributions by over 100 scholars in 36 countries and introduced the work of many musicologists in English translation, thereby disseminating their perspectives in the Anglophone sphere of influence. As Consulting Curator for Latin America and the Caribbean at the Musical Instrument Museum in Phoenix, Arizona (2008–2010), Kuss built a collection of over 1,500 instruments and designed 43 exhibits. She is the recipient of prestigious prizes and research awards, most notably the Platinum Konex Award for lifetime achievements in musicology from the Konex Foundation in Buenos Aires, Argentina (2009). The Canberra International Music Festival is honoured to present here excerpts from Professor Kuss's unpublished paper "Alberto Ginastera at 100 (1916–1983)", and is proud to be able to make copies of the complete paper available as a separate publication. 64 Saturday 7 May

In association with the ANU School of Art and the ANU School of Music with the assistance of the Embassy of Spain and Acción Cultural Española concert 20 Twilight

Antonio Valente fl 1565–80 Enrique Granados 1867-1916 FITTERS' Lo Ballo dell’Intorcia Intermezzo from "Goyescas" WORKSHOP Gaspar Sanz 1640-1710 Danza Española No. 2 (Oriental) 5.30pm Pavanas por la D con Partidas al Isaac Albéniz 1860-1909 70 mins Aire Español & Jacaras Castilla Anónimo José María Gallardo del Rey ed. Antonio Martín y Coll, 1709 guitar Andrey Lebedev guitar Bayle del Gran Duque Salvatore Sciarrino b. 1947 From Pagine: Forma Antiqva Gesualdo – "Tu m'uccidi, O Aarón Zapico harpsichord Luigi Boccherini 1743-1805 Crudel" Daniel Zapico theorbo Trio for violin, viola and Bach – Fughetta sur "Dies sind Pablo Zapico guitar violoncello Op. 47 No. 5 in D der heil'gen zehn Gebote" major (G. 111) Continuum Sax Cole Porter – "I've got you Christina Leonard Andantino moderato assai under my skin" James Nightingale Tempo di menuetto George Gershwin – "Who Martin Kay cares.. " Nicholas Russoniello Manuel de Falla 1876-1946 Domenico Scarlatti – Sonate Boccherini Trio Danza de La vida breve, en Ré mineur L.215/K.120 Suyeon Kang violin The Miller´s Dance (Allegrissimo) Florian Peelman viola (El sombrero de tres picos) Paolo Bonomini cello

Lighting installation by Mary-Anne Kyriakou by arrangement with th e ANU School of Art and the ANU School of Music

This concert is supported by MARGARET & JOHN SABOISKY Andrey Lebedev is supported by Muriel Wilkinson & June Gordon 65 1916 The death of Granados Enrique Granados was one of the great pianists of the late nineteenth and early twentieth centuries. His creative legacy as a composer has ensured him a permanent place in the then nascent Spanish nationalistic school. Virtually all his music relies heavily on the Catalan and Spanish folk idiom. Living in Barcelona, he passed the mantle of Catalan standard-bearer on to the young Pablo Casals, with whom he regularly performed in a trio. His most celebrated work is the brilliant piano suite Goyescas, inspired by scenes from Goya’s paintings. He worked on it from 1902 to 1911 and then reworked the material into an opera of the same title. Its premiere was scheduled for 1914 but the outbreak of the war put a stop to that. When the New York Met programmed it for January 1916, Granados, who had dreaded water for his entire life, decided to cross the Atlantic together with his wife Amparo. The trip was an extraordinary success, and the composer was persuaded to play for President Wilson in the White House and to produce some piano rolls in New York. The delayed departure forced the pair to sail into Liverpool and from there to board the ferry SS Sussex for Dieppe in France. On March 24 the liner was torpedoed by a German U-boat and broke in two. In an attempt to save his wife, whom he saw flailing about in the water some distance away, Granados jumped out of his lifeboat and drowned. They left behind six children, one of whom was to become a champion swimmer.

Sciarrino, a composer in the twilight of civilisation Born in Palermo, Sicily, Salvatore Sciarrino has lived in Città di Castello since 1983. He considers himself an autodidact having carved out a very singular creative path often at the limit of our hearing capacity. His works are as virtuosically demanding as they are aurally sophisticated and intellectually probing. Solo works such as Sei capricci for Violin (1976) and the music-theatre piece Luci mie traditrici (1998) have attracted great attention and are already considered modern classics. In the same way that his aesthetic thinking refers back to stimuli from classical philosophy, Sciarrino the composer creatively analyses the musical past. His arrangements for saxophone quartet of various famous ‘pages’ (Pagine) by composers as diverse as Gesualdo or Gershwin show an uncanny ability to create a new sound world out of a distant past. Roland Peelman 2016

66 Sunday 8 May

CANBERRA WEEKLY presents in collaboration with the Bus Depot Markets and Enigma Fine Chocolates concert 21 The Chocolate Factory: A family concert

J.S. Bach 1685-1750 Leslie Bricusse b. 1931 and FITTERS' From "The Chocolate Cantata", Anthony Newley b. 1931 WORKSHOP Op. posthumous Songs from 11.00am Aria: "Oh, how sweet this Willy Wonka & the Chocolate chocolate tastes!" Factory 90 mins with Tobias Cole as César Franck 1822-1890 Willy Wonka Panis Angelicus The Candy man Cheer up Charlie Jules Massenet 1842-1912 I've got a golden ticket Tobias Cole counter-tenor Meditation from "Thaïs" I want it now Lana Kains soprano Oompa-loompa James Doig tenor 1890-1962 Jacques Ibert doompadee-doo Anna McMichael violin Entr’acte Pure imagination Alice Giles harp Pyotr IlyichTchaikowsky Festival Young Artists 1840-1893 Children's Chorus: Andante cantabile from Quartet ANU Vocal Fry No. 1 in D Turner Trebles CCS New Voices Nigel Westlake b. 1958 directed by Tobias Cole Beneath the Midnight Sun arr. for harp solo by Alice Giles.

Sally Whitwell b. 1974 Treasure Chest WP

This concert is supported by Marjorie LINDENMAYER 67 Chocolate chocolate with her to France. The popularity of chocolate quickly spread to other European Chocolate may be the “food of the gods,” but courts, and aristocrats consumed it as a magic for most of its 4,000-year history, it was actually elixir with salubrious benefits. To slake their consumed as a bitter beverage rather than as a growing thirst for chocolate, European powers sweet edible treat. Anthropologists have found established colonial plantations in equatorial evidence that chocolate was produced by pre- regions around the world to grow cacao and Olmec cultures living in present-day Mexico as sugar. When diseases brought by the European early as 1900 B.C. The ancient Mesoamericans explorers depleted the native Mesoamerican who first cultivatedcacao plants found in labor pool, African slaves were imported to work the tropical rainforests of Central America on the plantations and maintain the production fermented, roasted and ground the cacao of chocolate. beans into a paste that they mixed with water, vanilla, honey, chili peppers and other spices to Chocolate remained an aristocratic nectar brew a frothy chocolate drink. until Dutch chemist Coenraad Johannes van Houten in 1828 invented the cocoa press, which Olmec, Mayan and Aztec civilizations found revolutionized chocolate-making. The cocoa chocolate to be an invigorating drink, mood press could squeeze the fatty cocoa butter enhancer and aphrodisiac, which led them to from roasted cacao beans, leaving behind a dry believe that it possessed mystical and spiritual cake that could be pulverized into a fine powder qualities. The Mayans worshipped a god of cacao that could be mixed with liquids and other and reserved chocolate for rulers, warriors, ingredients, poured into molds and solidified priests and nobles at sacred ceremonies. into edible, easily digestible chocolate. The When the Aztecs began to dominate innovation by van Houten ushered in the Mesoamerica in the 14th century, they craved modern era of chocolate by enabling it to cacao beans, which could not be grown in the be used as a confectionary ingredient, and dry highlands of central Mexico that were the the resulting drop in production costs made heart of their civilization. The Aztecs traded chocolate affordable to the masses. with the Mayans for cacao beans, which were In 1847, British chocolate company J.S. Fry & so coveted that they were used as currency. Sons created the first solid edible chocolate (In the 1500s, Aztecs could purchase a turkey bar from cocoa butter, cocoa powder and hen for 100 beans.) By some accounts, the 16th sugar. Rodolphe Lindt’s 1879 invention of the century Aztec emperor Montezuma drank three conching machine, which produced chocolate gallons of chocolate a day to increase his libido. with a velvety texture and superior taste, In the 1500s, Spanish conquistadors such and other advances allowed for the mass as Hernán Cortés who sought gold and silver production of smooth, creamy milk chocolate in Mexico returned instead with chocolate. on factory assembly lines. You don’t need to Although the Spanish sweetened the bitter have a sweet tooth to recognize the familiar drink with cane sugar and cinnamon, one thing names of the family-owned companies such remained unchanged: chocolate was still a as Cadbury, Mars and Hershey that ushered in delectable symbol of luxury, wealth and power. a chocolate boom in the late 1800s and early Chocolate was sipped by royal lips, and only 1900s that has yet to abate. Today, the average Spanish elites could afford the expensive import. American consumes 12 lbs. of chocolate each Spain managed to keep chocolate a savory year, and more than $75 billion worldwide is secret for nearly a century, but when the spent on chocolate annually. daughter of Spanish King Philip III wed French Christopher Klein King Louis XIII in 1615, she brought her love of

68 Sunday 8 May

Presented by B2B, in association with the National Gallery of Australia, with the assistance of the Embassy of Mexico in Australia concert 22 Pioneers of percussion - A mexican Wave

Amadeo Roldán 1900-1939 Paul Barker b. 1956 Gandel Hall NGA Rítmicas (1930) Stone Song, Stone Dance 2.00pm (2000) 75 mins Javier Álvarez b. 1956 Temazcal (1984) for maracas Raúl Tudón b. 1961 and tape Rhythmic Structure of the Wind (2009) – for open percussion ensemble and electronic María Granillo b. 1962 Tambuco Percussion sounds Orgánika (2008) Alfredo Bringas Ricardo Gallardo Andrián Pertout b. 1963 Edgar Varése 1883-1965 Miguel González Exposiciones for Glockenspiel Ionisation (1930) Raúl Tudón and Tape, no. 392d (2005, Rev. 2007) Speak Percussion Eugene Ughetti Kaylie Melville Carlos Chávez 1899-1978 Toccata (1942) with special guests Allegro Sempre giusto Largo Allegro, un poco marziale

This concert is supported by CLAUDIA HYLES, JENNIE & BARRY CAMERON

69 Pioneers of Percussion When Stravinsky unleashed his Rite of Spring Around this time the first percussion onto the world, it caused a scandal. The reason ensembles started to be formed which in turn this performance still resonates one hundred prompted new repertoire. The Toccata by the years on is that with one masterstroke a new Mexican Chávez was commissioned by John force was unleashed: rhythm. The primal Cage’s own percussion group and took the primitive strains of Stravinsky’s sputtering physicality of human touch (toccare as in ‘to thrusting chords sprouting up like wild touch’ or ‘to play’) as its point of departure. creatures heralded a new spurt of rhythmically This now classic percussion work places energised creativity that is connected to Roldan’s playful idiom into a sophisticated the earth through our feet. The only thing tripartite structure encompassing the full range that remained to be done was releasing the of what percussion can do.

actual instruments and their players, hitherto The twentieth century did become the century regarded as the poor noisy cousins of the of percussion as almost all types of popular orchestra from the periphery. Two works or commercial music involved drums or a brought percussion centre stage and thus percussion section. Meanwhile, percussion in completed this rather belated emancipation the classical world became increasingly varied process in 1930. For the first time, the extensive and virtuosic. Before long, the percussionist range of wood, metal and skin, pitched and morphed into a fully fledged magician of sound, unpitched was combined to create music using anything including the kitchen sink to that is driven solely by rhythm and colour: the create rhythm or sound. Three works in this simple but charming Ritmicas by the Cuban concert also employ electronics which extend Amadeo Roldán, and the very sophisticated the catalogue of sounds well into the digital the Ionisation by the French-American Varèse. world of the 21st century. Ionisation was inspired by the molecular Roland Peelman 2016 reality of living substance and, according to the composer, also owes a great deal to the Italian futurists Russolo and Marinetti, reflecting the new reality of modern city life in his work.

70 FITTERS' Sunday 8 May WORKSHOP 6.00pm ICON WATER presents 80 mins with the assistance of the Embassy of Mexico in Australia concert 23 FESTIVAL FINALE: VIVA BRASIL!

Miguel González b. 1973 Louise Page soprano Bulerías Paolo Bonomino cello Edward Wang cor anglais Carlos Chávez 1899-1978 James Bradley horn Toccata (1942) Carly Brown horn Allegro sempre giusto Alex Raupach trumpet Largo Michael Bailey trombone Allegro un poco marziale Andrey Lebedev guitar Hermeto Pascoal b. 1936 Victor Rufus electric guitar Cuarteto para Caçerolas Rohan Dasika bass guitar Alice Giles harp 1892-1974 Darius Milhaud Jacob Abela piano from ‘Saudades do Brasil’ Op. 67 (1920), arr. Roland Peelman Roland Peelman piano Sorocaba Botafogo Continuum Sax Leme Christina Leonard Copacabana James Nightingale Ipanema Martin Kay Corcovado Nicholas Russoniello Tambuco Percussion Heitor Villa-Lobos 1887- 1959 Alfredo Bringas Melodia Sentimental Ricardo Gallardo Three Preludes for guitar: Nos. 1, 3 and 5 Miguel González Raúl Tudón Bacchianas Brasileiras No. 5 (Aria) Speak Percussion Gerard Brophy b. 1953 Eugene Ughetti Ru B Fogo (1998) WP Kaylie Melville wp – world premiere

This concert is supported by MAJOR GENERAL THE HON. MICHAEL JEFFERY & MRS MARLENA JEFFERY Andrey Lebedev is supported by Muriel Wilkinson & June Gordon

71 Saudades from Brazil The origins of the word ‘saudade’ go back have heard at the time in Rio might have been almost one thousand years to Portugal and much closer to the infinitely sad Portuguese Galicia, where the frequent departure of loved repertoire we know as fado, hence the ones to West Africa or parts of Latin America underlying habanera rhythm in every number. fostered a feeling of longing or loss. To this day His French ear however would have pricked up at the untranslatable word saudade conveys a the more upbeat versions intent on dispelling the sense of nostalgia and melancholy and an even blues rather than evoking them. Some decades deeper knowledge that what has gone will never later the Brasilian songwriter Tom Jobim would return. write the bossa nova song 'Chega de Saudade' ("No more saudade", usually translated as "No In 1919, on returning to France from a More Blues") exuding Brazil’s confidence in its two year diplomatic stint in Brazil, Darius own identy and music. Milhaud’s suite is quirky Milhaud composed a piano suite under and light, neither pure Brazilian nor clear-cut the title Saudades covering almost every French, a snapshot musical guide through the neighbourhood of Rio de Janeiro. What he must streets of Rio de Janeiro.

Heitor Villa-Lobos The Villa-Lobos Foundation in the central Brasileiras series of which the Aria, No. 5, Botafogo district of Rio de Janeiro houses the originally scored with 8 cellos,was to become archives of one of the most prolific artists the his signature tune. Whether we hear it as neo- Latin American continent has ever seen. By the baroque confection or late-romantic populism, time of his death in 1959, Heitor Villa-Lobos it is impossible not to be moved by its soaring had amassed more than 2000 pieces, the wordless melody. His Melodia Sentimental, result of a ferocious appetite for work, a high unafraid to use words or sentimentality, is level of natural curiosity and adventure as well equally cherished in Brazil by classic and as a burning ambition to change musical life in popular singers alike. Brazil from a colonial backwater to a nation that Early encounters with European modernism celebrates its mixed African and indigenous also left indelible marks, prompted by the roots. He absorbed not only the street culture Ballets Russes' Brazil tour of 1917 and his of Rio in the early 20th century but above all the meetings with the French composer Milhaud bounty of a vast country overflowing with colour that proved fruitful for both. Two virtuoso and spice. Aided by new socialist governments performers also made a profound impact: Artur after the 1930 revolution, Villa-Lobos took Rubinstein, who ought to be credited for Villa- charge of plans to promote music and education Lobos’ best piano music, and Andres Segovia, to the masses on a grand scale. He criss-crossed who extracted a remarkable list of pieces for the country and produced didactic work, guitar, possibly the simplest and most direct propaganda, film music and concert work for all expression of the composer’s Brazilian soul. As purposes celebrating the unique voice of Brazil. Villa-Lobos was wont to say: "I don't use folklore, Equally, certain aspects of European culture I am folklore”. form part of his aesthetic make-up. His undying Roland Peelman 2016 taste for Bach produced the Bachianas

72 Ru B Fogo (1998) This work is something of a blast from the its array of instrumental exotica. past. It is an artefact from a time when I was Ru B Fogo was commissioned by Ensemble thoroughly besotted by the possibilities of Modern with the assistance of the Australia jazz-classical fusion in general, and by Brazilian Council, and is dedicated to whomever it music in particular. The inclusion of the touches. saxophone quartet underpins this fascination, as does the expanded percussion section with Gerard Brophy 2016

Toccata (1942) Two composers who lived through the of work that captures the raw and magical early 20th century Mexican revolution are strength of Mexico's pre-Columbian civilisation considered pivotal in bringing Mexican music whilst maintaining a strong sense of classical into the 20th century: the immensily gifted form. His music is fundamentally percussive, but troubled Silvestre Revueltas (1899-1940) hallmarked by polyrhythms, cross-rythms, and the equally talented but disciplined Carlos syncopation and irregular metres. In the late Chávez (1899-1978). Both stood at the cradle 1930's, John Cage asked Chávez to write a piece of the main orchestras and institutions as the for his Percussion Ensemble in Chicago. The country tried to reinvent itself between the result was the 1942 Toccata, one of the first two world wars. Both were influenced by native major pieces written for percussion ensemble Mexican culture and both maintained strong by itself. The story goes that Cage's group was links with the USA. Chávez also contributed to unable to manage the rolls and gave up. Chávez cultural life in Mexico as a prolific writer and premiered it in 1947 with the percussionists of commentator. his own orchestra.

Chávez' extensive oeuvre contains six Roland Peelman 2016 symphonies, ballets, an opera, and a range

One of many blessings We live in a mobile world, clocking up frequent flyer points, leaving a carbon trail along the way, and probably keeping an eye out for the post-Olympic bargains to Rio. Travel has become a way of life. So much in this year’s Festival is about travel, the routes that go over land and sea, conquests, crusades, waves and waves of migration, pilgrimage even. Most musicians travel from far flung places to Canberra for the ten days of this festival. My own traveling schedule has lately been dotted with weekly travels to Canberra, leaving Murray’s bus services as the main recipient of my ‘wanderlust’. But the festival itself has been the beneficiary of countless good people opening their doors and their hearts to artists from far afield. I should salute them all and thank them for embracing the spirit of this event with generosity and kindness. I myself have been blessed with years of enduring hospitality and friendship in the leafy suburb of Forrest, thanks to the generosity of two particular people. Words of thanks fail to express what this means for me personally. Waking up and never having to worry about breakfast. Arriving in a warm home on a cold night. Being able to relax – occasionally. That is a blessing indeed. Thank you, Anna and Bob. – Roland

Mr and Mrs Prosser have supported the role of Artistic Director for a number years 73

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AUSTRALIA’S CLASSICAL MUSIC AND ARTS MAGAZINE

ever miss an issue of Australia’s essential guide to classical music and Nthe arts. Subscribe today and receive your issue before it’s available in the shops, and if you’re one of the first 20 subscribers to our exclusive CIMF 2016 offer, you’ll receive your choice of free welcome gift from ABC Classics.

Choose your free gift... Your special offer... Members of Pro Musica Inc. which presents the Canberra International Music Festival can enjoy a 50% discount on a Limelight Magazine subscription. For more information on membership cimf.org.au The Idea of North: Swoon: The Opera Ballads (CD) Collection (CD)

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major events exhibitions parties Proud sponsors of the Canberra International barlens.com.au Music Festival 2016 Canberra Choral Society Come sing with us! If you have ever hankered to sing in Beethoven’s 9th Symphony, the Hallelujah Chorus from Handel’s Messiah or to learn and enjoy a rich and diverse choral repertoire stretching over 500 years, join our choir led by leading countertenor Tobias Cole.

2016 CONCERT PROGRAM May 11–12: Beethoven’s 9th Symphony with Canberra Symphony Orchestra July 23: Carmina Burana with National Capital Orchestra Sep 4: Voices in Space at the High Court of Australia Oct 8: Handel’s Jephtha - retitled as The Vow Dec 3: Schutz’ Christmas Story - our ‘Come & Sing’ performance

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The transfigured voices the The Song Company Bard, Billie Holiday, and the Pied Butcherbird all have presents their part to play in The Song Company’s season of legacy and transformation – into 2016 something rich and strange... A Strange Eventful Strange Fruit Concert History 7 – 13 October 18 – 27 June

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Subscribe and save today Visit www.songcompany.com.au for more information or to request a brochure, call (02) 8272 9500. Artistic Director

Roland Peelman An acclaimed musician of great versatility, Roland Peelman Kalkadunga Yurdu with didgeridoo artist and composer was born in Flanders Belgium and has been active in William Barton. Australia over 25 years as a conductor pianist artistic His overview and understanding of the music canon is director and mentor to composers singers and musicians unique. With a repertoire that includes the major classical alike. Peelman has received numerous accolades for his works from Bach to Gershwin as well as a vast oeuvre of commitment to the creative arts in Australia and specifically early music from Lassus Monteverdi and Schütz to Purcell Canberra Choral Society for his 20-year directorship of The Song Company during Peelman is Australia’s most innovative and versatile musical which the ensemble has grown into one of Australia’s most Come sing with us! director. His passion for new music has been crucial to an outstanding and innovative ensembles. If you have ever hankered to sing in Beethoven’s 9th Symphony, ever-growing repertoire of concert music as well as music the Hallelujah Chorus from Handel’s Messiah or to learn and Peelman is widely recognised as one of Australia’s theatre. Over the years Peelman has directed numerous enjoy a rich and diverse choral repertoire stretching over 500 years, join our choir led by leading countertenor Tobias Cole. finest musicians receiving the NSW Award for “the most recordings and premiere seasons of new operas such as outstanding contribution to Australian Music by an Black River Fahrenheit 451 The Burrow The Sinking of the 2016 CONCERT PROGRAM individual” and named “musician of the year” by the Sydney Rainbow Warrior and Gauguin to name just a few. May 11–12: Beethoven’s 9th Symphony with Canberra Symphony Orchestra Morning Herald’s music critic in 2006. In 2009 Sydney He has worked with most orchestras in Australia and July 23: Carmina Burana with National Capital Orchestra Morning Herald reviewer Peter McCallum named Peelman continues to develop new projects that aim to change Sep 4: Voices in Space at the High Court of Australia “The Innovator” praising him as the mastermind behind and re-invigorate the nature of concerts both in form and Oct 8: Handel’s Jephtha - retitled as The Vow two of Sydney’s “best moments” in music referring to the content. Dec 3: Schutz’ Christmas Story - our ‘Come & Sing’ performance Tenebrae III dance collaboration to music by Gesualdo and In 2015 Roland was appointed to succeed Christopher [email protected] | canberrachoralsociety.org the Festival Licht featuring music by the composer Karlheinz Stockhausen. Peelman has also been widely recognised for Latham as Artistic Director of the Canberra International his creativity in commissioning new artistic projects including Music Festival.

The transfigured voices the Presentation and Production The Song Company Bard, Billie Holiday, and the Pied Butcherbird all have Mary-Anne Kyriakou Artist-in-Residence awareness and appreciation for more creative, interesting presents their part to play in The Song Mary-Anne is the director of Smart Light globally, and and energy efficient built environments and art works. Company’s season of legacy and transformation – into recipient of the 2011 Alumni Award from the University of Mary-Anne is also a music composer. Created for her light something rich and strange... Sydney Faculty of Architecture, Planning and Design. Mary- installations, her compositions explore themes of light. Mary- 2016 Anne was voted in the top 100 Sustainable Leaders (2012) of Anne is a classically trained guitarist and violinist, and has the world. Mary-Anne is the current director of Studio Kybra A Strange Eventful Strange Fruit been the recipient of the prestigious Peggy Glanville Hicks Concert History 7 – 13 October and the former lighting director for the global consulting Music Composer Fellowship. 18 – 27 June engineering company Meinhardt. She is also the founder and

Series I believe I can fly... An Orthodox festival director for the sustainable light art festivals Smart Leonie Cambage director 6 – 13 August Christmas Light Sydney, held in Sydney on May 26 - June 14 2009 3 – 13 November After many years performing as a opera singer, Leonie (supported by Events NSW) and Singapore on October The Concord of Now touring to Canberra Cambage is becoming recognised as a director of opera 15 – November 7 2010 and March - April 2012 (supported by Strangers and music theatre with a flair for innovation, and a thirst the Urban Redevelopment Authority Singapore). Vivid Light 26 August – for experimental collaborations with artists, writers and 10 September Curator 2011 Sydney (Events NSW). composers. Mary-Anne is based in Germany and holds a lighting Leonie has a special interest in devising and directing new professorship and carries out lighting design and curation. Subscribe and save today Australian works. In 1992, she co-founded Three’s Company Mary-Anne is interested in the relationship between design Visit www.songcompany.com.au Opera, which commissioned and performed operas for for more information or to request a + technology + music + science on raising the public’s brochure, call (02) 8272 9500. children, and later established the children’s band Incy

79 Wincy, which toured and recorded for many years for ABC (Babirra Music Theatre); Trial by Jury (Babirra Music for Kids. Theatre); Luisa Miller (Melbourne City Opera); Iolanthe (Gilbert & Sullivan Opera Victoria); Love's Luggage Lost In 2002, she became Resident Director with the Tall (Melbourne Opera Studio); La Liberazione di Ruggiero Poppeas, writing and directing the comic operetta Troppo dall'isola d'Alcina (Ondine Productions); Into the Woods Amore (Darlinghurst Theatre, 2003; Melbourne Fringe (Chatswood Musical Society); Festival, 2004), and co-devising the concert series Beyond the Moon and Too Hot to Handel. Other new Australian In 2015, she directed the premiere production of Daniel works include Shifting Positions, (ScoPe, 2000) and Ben Manera’s L’Operetta II for The Song Company. Loomes‘ opera The Boat (Sherbrook Productions, 2003). Recently, she collaborated with singer Anna Fraser and artist James Harney mural artwork Benja Harney on a performance of Berio’s Sequenza III Ashleigh Vissell costume design with paper sculpture, for The Song Company, and directed pianist Sally Whitwell’s original cabaret Ten Tiny Dancers, for Benja Harney headdress design Melbourne's Famous Spiegeltent. Stuart Grigg set construction Leonie’s directing credits include: Postman Pat (Childsplay Productions); Sweet Charity (Opera West); HMS Pinafore Veronica Moore wedding cake design

The Musicians

Ensembles

The Brodsky Quartet Radio. Over the years the Brodsky Quartet has undertaken Ian Belton violin numerous performances of the complete cycles of quartets by Schubert, Beethoven, Tchaikovsky, Britten, Schoenberg, Daniel Rowland violin Zemlinsky, Webern and Bartok. It is, however, the complete viola Paul Cassidy Shostakovich cycle that has now become synonymous Jacqueline Thomas cello with their name: their 2012 London performance of the Since its formation in 1972, the Brodsky Quartet has cycle resulting in them taking the prestigious title of ‘Artist in performed over 3000 concerts on the major stages of the Residence’ at London’s Kings Place. world and has released more than 60 recordings. A natural The Brodsky Quartet also has a busy recording career, curiosity and an insatiable desire to explore has propelled and 2012 marked the beginning of a new and exclusive the group in a number of artistic directions and continues relationship with Chandos Records. Recent awards for to ensure them not only a prominent presence on the recordings include the Diapason D’Or and the CHOC international chamber music scene, but also a rich and du Monde de la Musique for their recordings of string varied musical existence. Their energy and craftsmanship quartets by Britten, Beethoven and Janacek, and, for their has attracted numerous awards and accolades worldwide, outstanding contribution to innovation in programming, the while ongoing educational work provides a vehicle for Brodsky Quartet has received a Royal Philharmonic Society passing on experience and staying in touch with the next Award. generation. They have taught at many international chamber music Throughout their 40-year career, the Brodsky Quartet has courses and held residencies in several music institutes, enjoyed a busy international performing schedule, and including the first such post at the University of Cambridge. has toured extensively throughout Australasia, North and They are currently International Fellows of Chamber Music at South America, Asia, South Africa, and Europe, as well as the Royal Conservatoire of Scotland and have been awarded performing at many of the UK’s major festivals and venues. Honorary Doctorates at the University of Kent and University The quartet is also regularly recorded for broadcast on BBC of Teesside

80 Boccherini Trio Sax has often featured on ABC Classic FM, for whom they Suyeon Kang violin have presented Sunday Live and performed for the Australia Day outdoor broadcasts from Hyde Park (2008 and 2009). Florian Peelman viola Paolo Bonomini cello Their repertoire has been developed through engagement with leading Australian and international composers. The Boccherini Trio was formed as a result of various Rosalind Page, Margery Smith, Erik Griswold, Damien evening sight-reading sessions that are a feature of the Ricketson, Brian Howard, Robert Davidson, Stuart Berlin music scene. Though a fledgling group, the trio has Greenbaum, Paul Stanhope, Barry Cockcroft, and Matthew already received magnificent reviews of their performances Hindson, amongst others, have contributed works that throughout Europe – ‘A spectacular moment of chamber- exploit the sonic dexterity and rhythmic fluency of the music making…from their first note, they offered such a quartet. Continuum Sax has presented Australian premieres fine, unified sound that captivated each member of the of compositions by Elena Firsova, Franco Donatoni, audience’ (LiveKritik, Berlin, 2014) – and in 2015 were named Salvatore Sciarrino, Gavin Bryars, Perry Goldstein, Rolf an official European Chamber Music Academy (ECMA) Gehlhaar and Jacob TV. ensemble. Shortly after this they were invited to perform in Wigmore Hall in 2016. In addition to their performance schedule, the quartet is active in education, having performed and workshopped The trio members are regularly sought-out as individual student compositions for MLC School's Australian Music chamber musicians; they have performed alongside or have Days, and presented composition and performance upcoming engagements with such artists as Stephen Isserlis, masterclasses for Newcastle University. In 2008 Continuum Christian Teztlaff (Chamber Music Connects the World Sax recorded a large number of educational works for 2014), the ATOS Trio, Maxime Vengerov, Giovanni Sollima, reedmusic.com. Mario Brunello, Bruno Giuranna and Salvatore Accardo.

The trio is dedicated to rediscovering and performing Forma Antiqva the veritable mine of over five hundred works written for Aarón Zapico harpsichord string trio of which so many works are sadly neglected and unknown to the public. Their endeavour is to continually Daniel Zapico theorbo develop an honest, original and unified perception across all Pablo Zapico guitar musical genres. Consisting of a core of musicians made up of brothers Pablo, The Boccherini Trio is kindly supported by the Fondation Daniel and Aarón Zapico, and led by the last of these, Forma Boubo-Music, Switzerland. Antiqva is a Baroque music ensemble with a variable line- up that brings together the most outstanding performers Continuum Sax of its generation. The group is considered by critics to be Christina Leonard saxophone one of the most important and promising classical music James Nightingale saxophone ensembles in Spain. Martin Kay saxophone Their meteoric rise has included concerts at the most Nicholas Russoniello saxophone prestigious festivals and concert series in Spain: performing at the Teatro Real in Madrid, the Auditorio Nacional de Continuum Sax, Australia's foremost Saxophone quartet, Música in Madrid, the Auditorio de El Escorial, the Palau de performs a unique repertoire that explores the intriguing, la Música de Valencia, and opening the opera seasons in exciting and expressive world of the saxophone. Their Oviedo and Bilbao, . concerts have been enjoyed by a wide range of audiences, including performances at the 2010 ISCM World New Music A hectic international schedule has taken the ensemble Days, the 2008 Restrung Festival, the 2005 Melbourne to major European festivals such as the Ludwigsburger International Festival of Single Reeds, and the 2002 Schlossfestspiele in Germany, the Van Vlaanderen in Bruges Australian Clarinet and Saxophone Conference. Continuum (Belgium) and the Summer Festivities of Early Music in Prague. Forma Antiqva has performed in numerous halls

81 and auditoriums in Bolivia, Brazil, Singapore, Australia, Italy, Annika Romeyn to create theatrical programs of chamber Greece, China, Japan, Serbia and France. music. In 2013 Griffyn launched their inaugural festival with Swedish ensemble the peärls before swïne experience, Their 2011 recording of Vivaldi’s Four Seasons was met staging 8 new music events in 10 days across Canberra. with acclaim by Spanish and European critics and, like their previous release, Concerto Zapico, was a best-seller across Griffyn have been broadcast on ABC Classic FM, toured most of Europe. Exclusive artists for the German cult record for Musica Viva In Schools, and were shortlisted for a 2008 label, Winter & Winter, all Forma Antiqva’s recordings have Australian Classical Music Award. Since 2006, Griffyn have been met with unanimous acclaim by public and critics alike. performed over 80 Australian premieres and over 15 world premieres, and their Canberra concert series regularly sells Forma Antiqva is the resident ensemble at the Auditorio - out. Palacio de Congresos “Príncipe Felipe” in Oviedo.

Exciting plans for the future include concerts in the house The Song Company where Händel was born in Halle (Germany), another Susannah Lawergren soprano performance at the Ludwigsburger Schlossfestspiele and soprano the Festival +Musik in Switzerland, as well as upcoming Anna Fraser productions of the Johannes Passion by J. S. Bach and the Hannah Fraser mezzo-soprano ballet Don Juan by Gluck. Richard Black tenor Mark Donnelly baritone The Griffyn Ensemble Andrew O’Connor bass/baritone Susan Ellis voice The Song Company is an a cappella ensemble of six Chris Stone violin professional singers. From its beginnings in 1984, the Michael Sollis mandolin ensemble has grown to exemplify its aim of providing Holly Downes double bass for Australia a group capable of international standard Kiri Sollis piccolo performances in the field of vocal chamber music. Over 30 years, the ensemble’s schedule has grown to include a mix Laura Tanata harp of national and international touring, a subscription series Cathy Petosz director in cities across Australia, recording and broadcast projects, The Griffyn Ensemble is a theatrical chamber ensemble education activities, and special collaborative projects. that breaks down the barriers of genre and recontextualises music from around the world – whether it is Mexican The Song Company’s repertoire covers vocal music from avant-gardist Silvestre Revueltas; legendary songwriter the 12th century to contemporary classical works, and is Burt Bacharach; folk hero Mikis Theodorakis; or other living unique in its stylistic diversity. The company remains at the composers across Australia and around the world. forefront of contemporary vocal music through an extensive

The Griffyn Ensemble is a sextet comprising composer/ commissioning program and collaborations with artists and director (Michael Sollis), soprano (Susan Ellis), double bass composers of the highest calibre from around the world. A (Holly Downes), harp (Meriel Owen), violin (Chris Stone), longstanding commitment to education sees the company and flute (Kiri Sollis). Past programs have included Island regularly perform in schools throughout the country, Universes: classical music inspired by Australia’s closest including bringing music workshops to children in regional neighbours in Melanesia; Behind Bars: an installation in Old and remote areas. Melbourne Gaol with music written by composers in prisons In 2016 The Song Company welcomes its new Artistic Director, and concentration camps; and Cloudy With A Chance of Antony Pitts. A British composer, producer, conductor and Rain: part weather-forecast, part-concert. teacher, Antony’s career has combined academic, industry

The Griffyn Ensemble are noted collaborators, and have and professional musical experience at world-class levels. worked with scientists such as astronomer Fred Watson, With Anthony The Song Company looks forward to many geomorphologist and weatherman Rob Gell, visual artist years of continued innovation and excellence in vocal music.

82 Speak Percussion Tambuco Percussion Ensemble Eugene Ughetti percussion Alfredo Bringas percussion Kaylie Melville percussion Ricardo Gallardo percussion

Speak Percussion’s ambitious and uncompromising projects Miguel González percussion have for over a decade defined the sound of 21st century Raúl Tudón percussion Australian percussion music. A multifarious organisation that With 20 years of international concerts and the recording of works across new music, experimental and interdisciplinary an original repertoire, Tambuco Percussion Ensemble has contexts, Speak Percussion is equally at home interpreting celebrated an acclaimed career, establishing itself among masterworks of the genre as it is creating bold new work. the finest percussion quartets today. The more than 100 compositions that form Speak’s body of Four-time GRAMMY Nominees, including Best Classical work can be regularly seen programmed internationally by Album, Tambuco was founded in 1993 by four distinguished ensembles and music institutions. Mexican musicians and is ranked among the finest and Speak Percussion works with many of the world’s leading most innovative in the world. These four musicians refuse exponents of new music, including Steve Reich (USA), Liza to be tied down to one style, with a repertoire ranging from Lim (AUS), Mark Applebaum (USA), Richard Barrett (UK), Jon structuralist percussion music to a wide range of ethnic Rose (AUS), Anthony Pateras (AUS), Thomas Meadowcroft drum music and avantegarde sound interpretation. The one (AUS), Bent Sørensen (DK), Fritz Hauser (CH), Michael Pisaro constant is their desire for perfection and unique, virtuoso (USA) and Robin Fox (AUS). performance.

Speak Percussion regularly engages with artists from The musicians of “Tambuco” use all conceivable and inconceivable means to realize their musical ideas. Tambuco diverse disciplines in cross-artform collaborations. Notable has been awarded with many distinctions and prizes from collaborators include architects Boa Baumann and Büro cultural organizations in Mexico and abroad. Tambuco has Architects, chef Glenn Flood, new media artist Robin Fox, offered concerts in five continents. They have performed in choreographer Antony Hamilton and the CSIRO Astronomy the USA (Lincoln Center, Kennedy Center), Tokyo (Ino Hall), and Space Science department. Speak Percussion tours London (Barbican Centre), Paris and Montpellier (Festival de internationally on average twice a year. Radio France), Germany (Berliner Festspiele) and Australia (Queensland Music Festival) as well as giving concerts in Speak’s “breathtakingly impressive” (The West Australian) Spain, Portugal, Italy, Egypt, Lebanon, Saudi Arabia Cuba, work has won them several accolades including two AMC/ Colombia, Brazil, Uruguay, Argentina and Canada, and APRA Art Music Awards and the Best Music Award in the practically all of Mexico's concert halls. 2012 Melbourne Fringe Festival for its large-scale robotics One of Tambuco's most important activities is collaboration. project Automation. Over the past five years Speak’s Artistic As solo ensemble, Tambuco has performed and recorded Director Eugene Ughetti has amassed significant recognition with musicians, ensembles and orchestras such as Keiko through receiving an inaugural Sidney Myer Creative Abe, Stewart Copeland, Eduardo Mata, Valerie Naranjo, Fellowship, a MCA/Freedman Fellowship for Classical Music Nanae Yoshimura, Kifu Mitsuhashi, Kronos Quartet, The (2011) and the OZCO Creative Fellowship ‘Early Career’, as Michael Nyman Band, Orchestre Philharmonique de well as twice being a finalist in the Melbourne Prize for Music. Montpellier, Orquesta Filarmónica de la Ciudad de México, amongst many others. To date, Tambuco has recorded Speak is passionate about supporting the next generation eight CDs. Its most recent album, Carlos Chavez Complete of musicians and composers through intelligent education Chamber Music, received three GRAMMY nominations: programs. Since 2011 speak has annually run its national Best Classical Album, Best Small Chamber Ensemble and tertiary level intensive Speak Emerging Artist Program, and Best Classical Latin Album. Its album Rítmicas was selected in 2015 launched its new three year high school program, by Audiophile Audition as one of the best CDs of the year. Sounds Unheard. Tambuco recorded also with Kronos Quartet on their Grammy nominated album Nuevo.

83 Singers

Marco Beasley tenor A mother, singer, producer, songwriter, pianist and business Marco Beasley was born in Portici, near Naples, in 1957. woman, this 4-time ARIA Award-winning and 7-time During his musical studies at the University of Bologna, he platinum-selling singer first received widespread praise as deepened his knowledge of the two stylistic pivots of the the angel-voiced songstress of indie-pop band George, and late Renaissance – recitar cantando and sacred and secular has since explored the reaches of jazz, pop and classical polyphony. He thus began an active concert career which music. quickly took him to some of the most prestigious venues, Her various releases include her folk trio’s self titled album from the Mozarteum in Salzburg to the Concertgebouw in Elixir, the No. 1 selling classical album Two of a Kind with Amsterdam, from the Accademia di Santa Cecilia in Rome to her mother Maggie, her gold-selling top ten solo album Skin Lincoln Center in New York. and the acclaimed Songs of the Southern Skies. She has

As a singer, actor and writer, the personality of Marco Beasley also worked with the country’s top orchestras including her fruitful collaborations with Richard Tognetti and the embraces the carefree soul of Naples, the joie de vivre of Australian Chamber Orchestra. making music, and the desire to confront the world of poetry and literature. From Gregorian chant to polyphony, from the Noonan’s affinity with jazz shone through on the ARIA award sixteenth-century frottola to motets, from recitar cantando winning album, Before Time Could Change Us, recorded with to the great Neapolitan songs, up to modern re-inventions revered pianist Paul Grabowsky. In her 2009 ARIA winning of historical genres: Marco’s exceptional qualities both vocal release Blackbird, Noonan collaborated with an historic and expressive, united with his personal sensibility and ensemble of iconic jazz players including Joe Lovano, Ron fantasy, result in interpretations which are always new and Carter, Lewis Nash and John Scofield. allow him to cover an enormous range of musical styles and Katie’s folk/jazz trio of 14 years features Katie’s saxophonist periods. husband Zac Hurren (winner of the National Jazz Award His personal research into vocal production and the 2009) and Stephen Magnusson, regarded by many as intelligibility of sung texts have earned him the praise of an Australia’s finest jazz guitarist. In 2011, Elixir released their ever-increasing public. In 2009 the Dutch VSCD (Association long awaited 2nd album First Seed Ripening, largely inspired of Theater and Concert Halls) nominated him for Best by the words of legendary Australian poet Thomas Shapcott. Performer of the Year. The album won the ARIA award for best Jazz Album 2011.

Marco Beasley’s discography is ample and wide-ranging. Katie finished 2012 with a project in duo with classical Most recordings are with the ensemble Accordone, which guitarist Karin Schaupp. Songs of the Southern Skies, he founded together with Guido Morini and Stefano Rocco featuring re-creations of iconic Australian and New Zealand in 1984. In 2014, he chose to leave the group in order to compositions, both classical and contemporary, with venture down an even more personal and independent path special appearances from Iva Davies, Gurrumul, Maori diva unconnected with the name of the ensemble. Whirimako Black, Sydney Symphony oboist Diana Doherty, young members of Brisbane’s Voices of Birralee, Clare 2013 marked the release of the CD Il Racconto di Bowditch and The Living End’s Chris Cheney. Mezzanotte, in which the singing is more than ever the sound of a narration, an intimate and contemplative tale recounted Spanning her career to date, Songbook(2013) sees Katie lay entirely by single voice. intimate, acoustic, re-imaginings of her most-loved songs over lush string arrangements. The Songbook album was launched in conjunction with an actual song book featuring sheet music Katy Noonan singer (for the first time ever), rare photographs and the stories Katie Noonan’s technical mastery and pure voice makes her behind the songs. Katie toured Songbook to the USA and one of Australia’s most versatile and beloved vocalists. Canada as well as embarking on a national tour of Australia.

84 Taryn Fiebig soprano State Opera, Musica Viva, the ABC, the Australian Festival of Chamber Music, and the Canberra International Music Helpmann Award-winning soprano Taryn Fiebig is one of Festival. In 2007 she received a Canberra Critics Circle Australia most popular and versatile artists. award for music and was named the Canberra Times Artist As a soloist, she has performed the 15th Century of the Year. She has recorded nine CDs of music varying Masterpiece El Cant de la Sibil-la with the Australian from lieder to operetta, premieres of Australian music and Brandenburg Orchestra for their popular Noël Noël Christmas songs. In 2013 she received an OAM for services Christmas concerts. Internationally, Taryn has performed to the performing arts. in Los Angeles with the contemporary music ensemble L.A. EAR unit, in England with the English Chamber Orchestra Maartje Sevenster alto in St. John’s Smith Square, London and on BBC Radio 3 MaartjeSevenster has sung with such renowned conductors and Radio 4 in the radio dramas Southland and Pembroke, as Yakov Kreizberg, Roy Goodman, Jaap van Zweden, Marc Arcadia. Soustrot, Nicholas Smith and Reinbert de Leeuw. Recently, Maartje was alto soloist in Copland's In the beginning, In 2005, Taryn joined Opera Australia as a principal soprano. Janáček's Diary of One Who Vanished, J.S.Bach's Easter Her many roles with this company have included Susanna in Oratorio and Magnificat and Vivaldi's Nisi Dominus, in Le nozze di Figaro, Galatea in Acis and Galatea, Musetta in performances in the Canberra region. In 2015 she was La bohème, Zerlina in Don Giovanni, The Plaintiff in Trial by narrator in Glenda Cloughley's Passion for Peace. Maartje is Jury, Clorinda in Cenerentola, Belinda in Dido and Aeneas, a member of Coro Canberra. Papagena in The Magic Flute, Rose in Lakmé, Servilia in La clemenza di Tito Jenufa The Pirates of , Karolka in , Mabel in Tobias Cole countertenor Penzance and Gianetta in The Gondoliers. In 2008/2009, Tobias Cole Artistic Director of Canberra Choral Society she sang the leading role of Eliza Doolittle in the national Distinguished Artist in Residence at the Australian National tour of My Fair Lady. Taryn won the Helpmann Award for University and winner of the Green Room Award and the her portrayal as Lucy in Bliss (which she sang in Sydney, Metropolitan Opera Young Artist Study Award has performed Melbourne and at the Edinburgh Festival). throughout Australia the UK and USA. She sang Esmeralda in The Bartered Bride for New Zealand Highlight performances have included Ottone in Opera, Sicle in L’Ormindo for Pinchgut Opera, appeared L'Incoronazione di Poppea, Apollo in Death in Venice and as soloist with the Queensland and Adelaide Symphony Oberon in A Midsummer Night’s Dream (Chicago Opera Orchestras, Australian Brandenburg Orchestra, Sydney Theater); title role in Philip Glass’ Akhnaten (State Opera Youth Orchestra and performed in recital with flautist Jane of South Australia); title role in Julius Caesar Medoro in Rutter and harpist Marshall McGuire. In 2013/2014, she sang Orlando and Oberon (Opera Australia); title role in Xerxes Musetta, Pamina, Zerlina, Oscar (Un ballo in maschera) (NBR NZ Opera Victorian Opera) Roberto in Griselda and and The Woodbird (Der Ring des Nibelungen) for Opera Athamas in Semele (Pinchgut Opera); St Matthew Passion Australia. (Opera Queensland); La Speranza in L'Orfeo (Australian Taryn returned to the national company in 2015 as Pamina, Brandenburg Orchestra); title role in Handel’s Alexander Zerlina and Susanna in David McVicar’s new production of Balus (Canberra Choral Society); Dr Who Spectacular Le nozze di Figaro. She also appeared as soloist with the (Melbourne Symphony); Messiah and St John Passion Australian Chamber Orchestra and the Adelaide Symphony. (Queensland Symphony); Shawn Parker’s This Show Is For Opera Australia in 2016, she sings Pamina, Despina (in a About People (Sydney Festival); Purcell’s Dido and Aeneas new Così fan tutte) and Gutrune in Der Ring des Nibelungen. John Adams’ El Niño and Bach’s B minor Mass (Sydney Philharmonia); as well as appearances at the Canberra © Patrick Togher Artists’ Management 2015 International Music Festival Australian Festival of Chamber Louise Page soprano Music and Woodend Winter Arts Festival. Canberra soprano Louise Page is one of Australia’s most In 2015 Tobias returned to the West Australian Symphony highly regarded and versatile singers, performing throughout Orchestra to perform Carmina Burana and directed the Australia and Europe with groups such as the Vienna Canberra Choral Society in Handel’s Hercules.

85 David Greco baritone Robert MacFarlane tenor Baritone David Greco has established himself as a fine Robert Macfarlane studied at Elder Conservatorium and interpreter of Art Song, Oratorio and Opera throughout Hochschule für Musik ‘Felix Mendelssohn-Bartholdy’. Most Europe and Australia. He first appeared with Dame Emma recent engagements have included Pong in Turandot with Kirkby in her Australian concerts in 2006, and has featured the Auckland Philharmonia Orchestra, Israel in Egypt for a soloist with Australia’s finest ensembles, including the the HalberstädterDomfestspiele, St John Passion with Australian Chamber Orchestra, Pinchgut Opera, and Sydney Philharmonia Choirs, Bach’s Mass in B Minor with Australian Haydn Ensemble. David has been based in the UK Gewandhaus Orchestra/Thomanerchor, Ircano in Hasse’s for the last two years, during which time he was a member Semiramide in Graz and Leipzig, Monostatos in The Magic of Westminster Abbey Choir and appeared as a member of Flute for West Australian Opera, and Britten’s St Nicolas with Glyndebourne Festival Opera in Purcell’s The Fairy Queen Adelaide Symphony Orchestra. under Laurence Cummings. He toured the UK and France in Messiah with TheAcademy of Ancient Music, under Richard Javier Vilariño baritone Egaar. In Europe he works frequently with ensembles such as Javier Vilariño is one of Australia’s most eclectic and Freiburg Barockorchester, Amsterdam Baroque Orchestra engaging performers; his repertoire spans works from Bach under the direction of Ton Koopman to Piazzolla. A graduate of the Sydney Conservatorium of Music’s Opera Studio, Javier has performed in Italy and 2016 sees David’s debut as a principal artist with Opera Spain at the Instituto Michelangelo di Lingua e Cultura Australia in The Love of Three Oranges. He will also feature in and the Barcelona Conservatorio. International highlights Purcell’s King Arthur in the Brisbane Baroque Festival and in include a private performance for the Malaysian Prime concerts with Sydney Symphony, Sydney Philharmonia Choirs Minister, a recital with renowned accompanist Professor and the Sydney Chamber Choir. Dalton Baldwin in Barcelona; locally, he took part in Bizet’s David has been based in the UK for the last two years during Carmen on Sydney Harbour with Opera Australia. Javier which time he was a deputy bass with Westminster Abbey has rediscovered his passion for the music of his Latin Choir. He appeared at Glyndebourne Festival Opera in The background and has teamed up with local guitarists to Fairy Queen (Purcell) and was invited to tour the UK and perform repertoire by Spanish and Argentinian composers. France in Messiah with The Academy of Ancient Music.

Instrumentalists

Anna McMichael violin Anna McMichael is an Australian born violinist who returned Anna has performed with Ensemble Offspring, Pinchgut to live in Australia in 2010 after 17 years in Europe performing Opera and the Omega Ensemble, and is a member of in many of the major ensembles and orchestras. Ironwood. She has been invited to perform concerts with the pianist Daniel de Borah for Recitals Australia in Melba Hall Anna has performed at many European music festivals lunch concerts, in Brisbane, at the Tyalgum and Camden with a number of Dutch chamber ensembles and toured Haven Festivals, and for “Sunday Live”, ABC Classic FM. Anna extensively with groups such as the London Sinfonietta, has tutored at ANAM and the Canberra School of Music, and Amsterdam Sinfonietta Chamber Orchestra, Netherlands has appeared with the Australian World Orchestra since Chamber Orchestra, and the Royal Concertgebouw 2011. Together with pianist Tamara Anna Cislowska, Anna Orchestra. In Australia, Anna has performed at 4 Canberra has recorded old and newly composed Lullabies for the Tall International Music Festivals as guest artist, been a soloist Poppies label which have been performed at the Port Fairy and member of Melbourne Chamber Orchestra, guest Spring Music Festival, the Mona FOMA Festival in Hobart Associate Concertmaster of Adelaide Symphony Orchestra, and Duneira in 2013; this recording was CD of the Week on Assistant Concertmaster of the Canberra Symphony ABC Classic FM. Anna is Co-Director of the Tyalgum Music Orchestra, Concertmaster of both Orchestra Victoria and Festival. Auckland Philharmonia.

86 Rohan Dasika double bass with which he performs his own music, and which since its formation in 1994 has played in a number of major Rohan Dasika is a double bassist emerging as a valued international events. contributor to Australian music. He has appeared as a chamber musician in festivals including the Bendigo His development as a classical guitarist has been enriched International Festival of Exploratory Music (2014), Australian byhis intense relationship with the world of Flamenco. The Festival of Chamber Music (2015), with future appearances fusion of both styles has created a unique way of playing in the 2016 Four Winds Festival and Canberra International and listening to Spanish music, and José María has made an Music Festival. He also regularly performs in the Melbourne indispensable contribution to projects like Pasión Española and Queensland Symphony Orchestras, as well as with the with Plácido Domingo (Grammy Latino 2008), Habañera Camerata of St. Johns. Gipsy with Elina Garança (2010), Caprichos Líricos with Teresa Berganza, and in his role as director and artistic Virginia Taylor flute adviser to Paco de Lucía for the latter’s Japanese début with Virginia is recognised internationally as a leading pedagogue, the Concierto de Aranjuez in 1990. Recently he has created flute performer and musician. The recipient of numerous Reyana Editions, specializing in the publication of his own awards and 1st prizes, she has performed concerti, solo compositions. recitals and chamber music across many countries. Virginia guitar performed as Principal Flute with the Australian Chamber Andrey Lebedev Orchestra for over 10 years, as well having been guest Born in Moscow and brought up in Australia, Andrey principal flute with many of the major symphony orchestras Lebedev is currently studying at the Royal Academy of within Australia and overseas. Music in London.His extensive solo repertoire includes many important works from the late twentieth century, by Virginia’s CDs are released on ABC Classics, Tall Poppies and such composers as Berio, Britten, Ginastera, Henze and Move Records. Over many years, she has commissioned Takemitsu, and he has given the world premieres of major and premiered many new Australian works. 2016 will see compositions by Peter Sculthorpe and, under the auspices the premiere of a new work by Australian composer Mark of the Julian Bream Trust, both Leo Brouwer and Sir Harrison Isaacs, along with a recording of a major new work for flute Birtwistle. A lover of chamber music, Andrey performs and piano by Paul Dean. Concerto performances for 2016 regularly with flautists Brontë Hudnott and Alena Lugovkina, include Jonathan Dove’s Flute Concerto with the Canberra mezzo-soprano Lotte Betts-Dean and, in Australia, with Symphony Orchestra and Matthew Hindson’s iconic flute the Llewellyn Guitar Quartet. Recently, he has appeared as concerto House Music with the Willoughby Symphony. soloist in Rodrigo’s Concierto de Aranjuez with Orchestra Virginia is a regular performer at music festivals throughout Wellington in New Zealand. the region, including the Hong Kong Youth Music Festival, Among the prestigious venues where he has appeared are Tutti Beijing, The Townsville Festival and the Canberra the City Recital Hall (Sydney), the Arts Centre (Melbourne), International Music Festival. She is also Artistic Director the International Guitar Festival (Adelaide), The Sage of the bi-annual Australian Flute Festival. In 2016 Virginia (Gateshead), St John’s, Smith Square, Wigmore Hall and was appointed Head of Flute and Senior Lecturer at the Kings Place (London) and the World Expo (Shanghai). His Queensland Conservatorium, Griffith University. forthcoming engagements include an evening concert at the Academy entirely of Australian composers, followed by José María Gallardo del Rey guitar UK recitals for the International Guitar Foundation, and solo Since his début in Seville at the age of eight, José María has recitals across Australia and for the Zagreb Music Institute in achieved universal public and critical acclaim. As a mature Croatia. artist with a profound affinity for all aspects of the guitar, he has become a leading authority on the instrument among Andrey is an artist with Arts Global and has been selected by conductors and players alike, and a soloist in great demand the Tillett Trust, City of London Music Foundation, Countess by orchestras throughout the world. He is director and of Munster Musical Trust and International Guitar Foundation founder of La Maestranza, a Spanish chamber ensemble for their ongoing ‘Young Artist’ schemes.

87 Rupert Boyd guitar James Tawadros percussion Australian guitarist Rupert Boyd is acclaimed as one of the and percussion most talented guitarists of his generation. He has been Bree van Reyk Lauren Brincat described by The Washington Post as “truly evocative”, and Bree van Reyk is an Australian percussionist, drummer, by Classical Guitar Magazine as “a player who deserves to composer and sound artist. She has toured and recorded be heard.” He has performed across four continents, from extensively with the likes of Paul Kelly, Holly Throsby, Sarah New York’s Carnegie Hall, to festivals in Europe, China, India, Blasko, Katie Noonan, Darren Hanlon, and the Australian the Philippines and Australia. His solo CD Valses Poéticos Chamber Orchestra. Lauren Brincat is an Australian received the following review in Soundboard, the quarterly artist who works across diverse media, from video and publication of Guitar Foundation of America: “Boyd’s playing performance to sculpture and installation. Brincat has is beautifully refined, with gorgeous tone… musically and exhibited widely across Australia, including exhibitions technically flawless... [the Granados is] one of the best at Anna Schwartz Gallery, MONA FOMA, Queensland Art recorded performances of this work on guitar.” Gallery and the Art Gallery of New South Wales. Together Lauren Brincat and Bree van Reyk have created work Victor Rufus electric guitar for AGNSW, the MCA, GOMA, MOFO, Next Wave and Born and raised in Blue Mountains, NSW, Victor Rufus Performance Space. studied classical guitar under the wing of Georg Mertens, obtaining the Associate Diploma in Music, Australia (AMusA), Alice Giles harp going onto further study under Mike Price at the ANU School Alice Giles is celebrated as one of the world’s leading of Music obtaining his BMus (Hons) in jazz performance. In harpists. First Prize winner of the 8th Israel International July 2011, Rufus completed a study exchange in the Masters Harp Contest, she has performed extensively as soloist of Astrophysik program at Rheinische Friedrich-Wilhelms- word-wide. Regarded by Luciano Berio as the foremost Universität Bonn, Germany. Currently he performs in with interpreter of his Sequenza II, solo recitals include London’s contemporary and period groups based in the ACT, NSW Wigmore Hall, New York’s 92nd Street 'Y' and Merkin Hall and and Victoria as well as teaching at several institutions. His Frankfurt Alte Oper. She is a frequent guest at international album Tanzverbot with collaborative jazz group RasRufus music festivals and as soloist with orchestra, with regular was released in October 2013. tours and master classes in Europe, North America and Asia. As recipient of an Australian Antarctic Arts Fellowship she Joseph Tawadros oud performed at Mawson Station in 2011 to commemorate the At just 32 years of age, Joseph Tawadros has established Centenary of the First Australasian Antarctic Expedition. Her himself as one of the world’s leading oud performers and discography includes solo, chamber music and concerto composers. A virtuoso of amazing diversity and sensitivity, Joseph continues to appear in concert halls worldwide, discs for the Tall Poppies, Musikado, ABC Classics, CDI, and dazzling audiences with his brilliant technique, passionate Marlboro Recording Society labels. She is director of the musicianship and his joyous style of performance. Seven Harp Ensemble, and was Chair and Artistic Director of the World Harp Congress, Sydney July 2014. A resident of Australia since 1986, Joseph has been responsible for expanding the oud’s notoriety in mainstream western culture, and has also been recognised in the Arab Nadia Ratsimandresy ondes martenot world, being invited to appear on the judging panel of the Born in Paris, Nadia Ratsimandresy discovered the charms Damascus International Oud competition in 2009. He took of music and the Ondes Martenotat the age of 9 years in the part in Istanbul’s first Oud festival in 2010. class Françoise Pellié Murail in Evry. Admitted to the Paris Joseph has toured extensively, and has collaborated with Conservatoire in 1998, Nadia graduated in 2002 with first celebrated artists such as Zakir Hussain, Sultan Khan, Béla class Advanced Training Diplomas in Ondes Martenot and Fleck, John Abercrombie, Camerata Salzburg, Christian Musical Acoustics. Lindberg, Neil Finn, Kate Miller-Heidke, Katie Noonan, Richard Tognetti and the Australian Chamber Orchestra, and the Nadia is dedicated to chamber music and the performing Academy of Ancient Music in London. arts. In 2006 she co-founded the 3D Trio with soprano

88 Virginie Colette and guitarist Sophie Marechal, with 2002. His monograph Off the Record: Performing Practices whom she has premièred numerous compositions. She in Romantic Piano Playing (Oxford University Press, New collaborated with the Italian pianist Matteo Ramon Arevalos York: 2012) has received critical acclaim. Limelight Magazine on the program Messiaen around Messiaen, dedicated hailed it as ‘engaging and thought provoking … an outstanding to Messiaen and his students, and released on CD for the contribution’ and a book that ‘no serious pianist should English RER label Megacorp in 2008, following a tribute tour be without.’ Alex Ross—music critic of The New Yorker and that year. Volta, a group comprising 2 ondes, electric guitar author of The Rest is Noise—honoured it as a notable book and percussion, has been navigating between rock and on his 2012 Apex List. In 2012, Off the Record was the subject contemporary music since 2012. of both a five-part series broadcast by ABC Classic FM during the Sydney International Piano Competition and an Nadia also works with Judith Depaule’s company, Mabel in depth interview with Christopher Lawrence for the ABC Octobre, in Paris (You dream - Yuri did it cosmic spectacle, Classic FM Music Makers programme. 2007 - Not Even Dead, a multimedia show for children, for which Nadia composed the score, 2010 - The Cosmic Professor Da Costa appears courtesy of the Sydney Voyage, 2011); and with the ensemble from Valenciennes, Conservatorium of Music. Art Zoyd (The Man with a Camera in 2007 - Half Asleep Already, 2011 - Three Dreams Not Valid, 2013). Jacob Abela piano

In addition to more specific projects Sweet( Dreams, a Jacob Abela is a pianist, composer, and ondist based in show of German and Swiss choreographers Isabelle Schad Melbourne. He is in high demand as a soloist, chamber and Simone Aughterlony, for which she co-wrote the music musician, and orchestral musician around Australia. Jacob has appeared in festivals including the 2014/15 Metropolis with Laurent Dailleau, 2009 - Between 2'0" involving the New Music Festival, Bendigo International Festival of Trio 3D, with composers André Serre-Milan and Tao Yu, Exploratory Music, Bang on a Can Summer Music Festival, 2013), Nadia has developed a solo program for electronic and Sydney Festival. He is also a casual musician with the wave instruments, inaugurated in September 2012 with Melbourne and Sydney Symphony Orchestras. a re-interpretation of Solo für mit Melodie-Instrument Rückkopplung (1965-1966) by Karlheinz Stockhausen, Marcela Fiorillo piano recreated for Ondes Martenot. Marcela Fiorillo was born in Argentina. She is a graduate Nadia has been Professor of Ondes & Synthesizers at the from the National Conservatory of Music and a Licentiate of Regional Conservatoire of Boulogne-Billancourt since the National University of Arts-Buenos Aires. In her career January 2015. as performer, teacher and composer she has appeared on the most prominent stages of Argentina including the Neal Peres Da Costa harpsichord Teatro Colón. She toured USA, Italy, France, China, Malaysia and Thailand. In Australia, Marcela has performed at the A graduate of the University of Sydney, the Guildhall School Castlemaine State Festival, on the ABC’s Sunday Live, and of Music and Drama (London), the City University (London) in Perth, Melbourne, Brisbane and Hobart. Marcela has and the University of Leeds (UK), Neal Peres Da Costa has recorded ten albums including Argentine, Latin American, forged a highly successful career as a performing scholar, Spanish and Australian music; Liszt and Beethoven. Her music educator and researcher, specialising in historically Awards include the 2007 Canberra Times “Top Ten Concerts informed performance. Currently, he is Associate Professor of the Year” and Canberra Critics Circle Award, the 2008 and Chair of the Historical Performance Unit at the Sydney Canberra Critics Circle Award for conducting the premiere of Conservatorium of Music (University of Sydney). Previously “María de Buenos Aires” by Piazzolla; and the 2014 Canberra held posts include at the University of New South Wales, the Critics Circle Award for her CD Weereewa - Voices of the Royal Academy of Music and Trinity College in London, and Land. Marcela is currently a member of the Performing Teaching Fellows program at the ANU School of Music. the University of Leeds from which he was awarded a PhD in

89 James Crabb accordion Scottish born James Crabb is one of the world’s leading Genevieve Lacey, appearing at the Huntington Festival and ambassadors of the classical accordion. His solo with Elision at ANAM. and chamber music repertoire ranges from original James has also embarked on two new exciting contemporary works, frequently collaborating with collaborations, one with violinist Anthony Marwood and composers, to transcriptions from Baroque through to the the other with recorder player Genevieve Lacey. Crabb and 21st Century, Tango Nuevo and folk music. Lacey’s first recording together with ABC Classics, Heard James’ great passion and acclaimed authority for the music This and Thought of You, has been released. of Astor Piazzolla has resulted in collaborations with the original members of Piazzolla’s own quintet along with two Lyn Fuller carillon highly acclaimed recordings, with the Australian Chamber Lyn Fuller is Lead Carillonist at the National Carillon Canberra Orchestra and with Richard Tognetti and the Tango Jam and has played the instrument since 1995. Lyn presents quintet. regular recitals, is currently the president of the Carillon Society of Australia and also editor of the society’s magazine Highlights of recent seasons include performing Piazzolla’s Dulci Tomes. Along with teaching the instrument, Lyn has Aconcagua with the BBC National Orchestra of Wales a particular interest in music written for the carillon by and the Ulster Orchestra, concerto for accordion The Australian composers, student composers and women. Singing (Sally Beamish) at the BBC Proms, conducting and Lyn enjoys working with Australian composers and ensuring performing Piazzolla’s Maria de Buenos Aires (Victorian that their music is played. She has premiered works by Elena Opera), as well as performing at the Australian Festival of Kats-Chernin, Larry Sitsky, Graeme Koehne, Becky Llewellyn Chamber Music. and Judith Clingan. Lyn herself has been commissioned to This year James’ engagements include working as mentor write two compositions for the carillon. and teacher at the Australian Youth Orchestra’s National Music Camp, giving numerous recitals together with

And ...

Hossein Valamanesh artist Born in Iran, Hossein Valamanesh immigrated to Australia He lives and works in Adelaide, South Australia and is in 1973. He graduated from South Australian School of Art, represented by Greenaway Art Gallery Adelaide, Grey Noise 1977 and has exhibited in Australia and overseas including Dubai and Karen Woodbury Melbourne. Germany, Poland and Japan, Finland, UAE and UK. He has completed a number of major public art commissions Raihan Ismail writer including An Gorta Mor, memorial to the Great Irish Famine, Raihan Ismail is a lecturer at the Australian National 1999, Hyde Park Barracks, Sydney and 14 Pieces on North University's Centre for Arab and Islamic Studies, specialising Terrace, Adelaide, both with Angela Valamanesh He was in political Islam and Sunni-Shi'a sectarianism. awarded an Australia Council Fellowship 1998. His work is Raihan was born in Egypt and raised in Malaysia. She included in most major public Australian art collections. A migrated to Australia in 2007 and became an Australian major survey of his work was held at the Art Gallery of South citizen. She now lectures for undergraduate and Australia in mid 2001 and a survey of his more recent work postgraduate courses in Middle Eastern politics and Islamic was held at Museum of Contemporary Art in Sydney, 2002. studies. She is the author of Saudi Clerics and Shi'a Islam, Wakefield Press recently published a monograph of his work, published by Oxford University Press in 2016. She is presently titled Hossein Valamanesh, Out of Nothingness, with essays studying the politics of Islamic religious institutions, and by Mary Knights and Ian North. In 2014 he undertook a cross-sectarian co-operation in Iraq. She lives in Canberra Smithsonian Artist Research Fellowship in Washington DC. with her husband and daughter.

90 2016 Festival Young Artists Proudly sponsored by Arn Sprogis & Margot Woods and Anne & Roger Smith, a group of young artists has been able to take part of the festival for several years. Selected from a wide field of applicants across Australia and neighbouring countries, this group involves young singers, wind players, string players and pianists.

The 2016 Festival Young Artists are:

Aaron Chew, keyboards (Canberra, ACT) The five wind players will be heard as a quintet in Aaron will be playing harmonium in the Rossini Mass, Ainslie Hall on Wednesday 3 May and at Poachers give several mini recitals in the Smokestack, and will Pantry on Thursday 4 May. In addition they are part play piano in the High Court. of the ensemble for Ginastera’s Serenata on May 7. Lana Kains, soprano (Hobart, Tas) Laura Barton, violin (Wellington, NZ) Clare Richards, soprano (Sydney, NSW) Alys Rayner, violin (Canberra, ACT) Stephanie Dillon, mezzo (Sydney, NSW) Emma Rayner, cello (Canberra, ACT Padraic Costello, alto (Hawai'i, USA) Thea Turnbull, viola (Sydney, NSW) The four string players work closely with the James Doig, tenor (Sydney, NSW) Boccherini Trio and Anna McMichael and Forma Julian Chu-Tan, tenor (Wellington, NZ) Antiqva, concentrating on baroque practice. Oliver Mann, bass-baritone (Melbourne, Vic) Kim Falconer, flute (Melbourne, Vic) Greg Bannan, bass (Perth, WA) Edward Wang, oboe (Sydney, NSW) The singers all work with The Song Company, Marco Magdalenna Krstevska, clarinet (Melbourne, Vic) Beasley and Roland Peelman. They will take part in the world premiere of Gerard Brophy’s Canticles and Justin Sun, bassoon (Canberra, ACT) perform as a group in the Gardens concert on May 6 James Bradley, horn (Sydney, NSW) and in Vivaldi Unseasoned on May 7

2015 Festival Young Artists and their sponsors Photo: William Hall

91 2016 Festival Team

Roland Peelman Artistic Director

Peppi Wilson General Manager

Rachel Walker Production Manager

Hanna-Mari Latham Office and Finance Manager

Miranda Borman Marketing and Communications Consultant

Dan Sloss Festival Staff & Producer

Gabrielle Hyslop External Venues Producer

Geoff Millar Publications Manager

Liz McKenzie Volunteer Coordinator

Jenny Harper Billeting Coordinator and Front of House Manager

Margaret Janssens Membership Secretary and Catering Coordinator

Helene Stead Front of House Manager

Kiri Backhouse Marketing Assistant

Helen Moore Front of House Host

Jill Sketchley Transport Coordinator

Steve Crossley Logistics Coordinator

Marita Petherbridge Production Officer

Barb Barnett Venue Manager

Rachel Gould Venue Manager

Roni Wilkinson Venue Manager

Andrew Blanckensee Bar Manager

Neil Simpson Lighting Designer

Darren Russell Technical Consultant

Alex Raupach Production Assistant

Freya Petersen, Elena Phatak, Matt Bradley, Leilani Wagner Production Interns

Peter Hislop, William Hall and Anthony Browell Photography

Jon Holder Videography

Kimmo Vennonen Audio Recordings

Sam Behr Graphic Designer

92 Pro Musica Board:

Bev Clarke President

Dr Arn Sprogis Vice-President

Dorothy Danta Vice-President

Will Laurie Treasurer

Govert Mellink Secretary

Associate Professor Royston Gustavson Management and Governance

Anna Prosser Fundraising and donor development

Jennie Cameron Fundraising and donor development

Romi Slaven Legal and governance

Volunteers: Andreea Ardeleanu, Jessicca Atkins, Peter Baghurst, Maureen Boyle, Bernadette Brennan, Bev Clarke, Merrilyn Crawford, Sally Curlewis, Marianne Davidson, Anne Davis, Bernadette Doherty, Rachael Eddowes, Jenny Harper, Iwona Hawke, Ian Hawke, Norman Hughes, Barbara Inglis, John Inglis, Aline Jee, Barbara Jesiolowski, Jack Knudson, Gayle Lander, Rachel Letts, Caitlin Magee, Pamela McKay, Liz McKenzie, Elena Melara, Govert Mellink, Daniel Morrison, Judy Newton, Brendan O’Loghlin, Anne Piggott, Anna Prosser, Jan Reksten, Jacqueline Richardson, Richard Rowe, Julie Shaw, Jackie Simons, Jill Sketchley, Dietlind Sommer, Arn Sprogis, Helene Stead, Ewa Talent, Helen Tan, Jane Thompson, Gabrielle Tryon, Michael Ware, Jennifer Whipp, Alison White, Tamara Wilcock

Billeters: Liese Baker, Klara Bereskinoff & John Marshall, Andrew Blanckensee & Julie Matthews, Peter & Margaret Callan, Jane Carver, Chris & Rieteke Chenoweth, Tim Colebatch & Mary Toohey, Mary & Philip Constable, Sally Curlewis, Robert Goodrick, Kathleen Grant, Jenny & David Harper, Gini Hole, Peggy Horn, Elspeth & Graeme Humphries, Barbara & John Inglis, Mary Martin, Jeff & Sally McCarthy, Judy McKenna, Helen Moore, Vicki Moss, Eric Pozza & Megan Curlewis, Anna & Bob Prosser, Marja Rouse, John Studholme, Rupert & Janet Summerson, David Uren, Kate Wall, Peronelle & Jim Windeyer, Margot Woods & Arn Sprogis, Teresa Zarlenga

Special thanks to: Principals: Sandy Belford and team, for the new Festival branding and design concepts TryBooking: Delma Dunoon Wesley Music Centre: Liz McKenzie ANU School of Music: Associate Professor Royston Gustavson, Dr Kate Bisshop-Witting ANU School of Art: David Williams, Denise Ferris

93 Canberra International Music Festival Donor Honour Board Pro Musica would like to acknowledge and sincerely thank the following donors for their ongoing support for the Canberra International Music Festival. We would also like to thank those donors whose generous contributions remain anonymous or are less than $500. The following donations reflect cumulative donations made from 2008 to the present. We recognise that many of our donors have supported our Festival prior to 2008. We are extremely grateful for all the support received from our community of donors. Pro Musica is registered as a tax deductible recipient. Donations can be made by phoning our office on 02 6230 5880 between the hours of 9.30 and 12.30 weekdays or by downloading a donation form from our website: www.cimf.org.au

Odyssey (above $200,000) Barbara Blackman Philanthropist Barbara Blackman has been a long term supporter of the Festival. A gift of $630,000, specifically for the 2006-2008 festivals, greatly assisted the Festival’s growth and provided for the development of a strong program of contemporary notated music. Barbara has continued to support the Festival, and we thank her for her generosity.

Discovery ($25,000 - $50,000) Betty Beaver Margot Woods & Arn Sprogis Marjorie Lindenmayer

Encounter ($10,000 - $25,000) Bev & Don Aitkin Margaret & Peter Janssens Dianne & Brian Anderson Marlena & Michael Jeffery Warren Curry & Randy Goldberg Anna & Bob Prosser Harriet Elvin & Tony Hedley Ann & Roger Smith David Geer Peronelle & Jim Windeyer Christine Goode

Quest ($1,000-$10,000) Michael Adena Cathy Compton & Tony Henshaw Sandra & Neil Burns Alison Clugston Cornes & the late Donna & Glenn Bush Richard Cornes Debbie Cameron Sue & Ray Edmondson Jennie & Barry Cameron Carolyn & Tom Flynn Barbara Campbell Gail Ford Rieteke & Chris Chenoweth Margaret Frey Susan & David Chessell Robin Gibson

94 June Gordon Jonathan Mills Lyndall Hatch Catherine & Chris Murphy Judith Healy & the late Tony McMichael Jenny & Emmanuel Notaras Meredith Hinchliffe Koula Notaras Barry Hindess Carolyn Philpot Rosanna Hindmarsh Robert Purdon Ines-Maria & Cec Hodgkinson Margaret & John Saboisky Peta & Brand Hoff Marylou Simpson Elspeth & Graham Humphries Judy & David Taylor Leonie Hunt Ken Unsworth Claudia Hyles John Ward Marilyn Jessop & Malcolm Grey Peter Weiss Libby & Will Laurie Mandy & Lou Westende Gail & Bill Lubbock Muriel Wilkinson Wendy May Peter Wise

Adventure ($500- $1,000) Jeanine & Emilio Cataldo Helen Moore Anne Cawsey Vicki Moss Hilary Charlesworth Claire Parkhill Bev Clarke Diana Shogren Isobel Crawford Janet Tomi Paul Eggert Leon Trainor Meryl Joyce Rachel Walker Janis Laurs Anne & Adrian Walter Rosie & Ross Maclaine Margaret & David Williams Lillian & Govert Mellink David Windsor Thank You The Canberra International Music Festival is an event run by members of the Canberra community. We receive strong support from the ACT Government, the Australia Council for the Arts and a number of foreign governments. However, without the support of our local business sponsors (who contribute financially and in- kind), and the generosity of individual donors and volunteers, our wonderful festival would not be a reality. Each year our community of donors contributes significantly to the cost of presenting concerts and supporting our artists. We also have the privilege of working with an enthusiastic and highly skilled team of volunteers who contribute their time during the year and throughout the Festival. The Board and staff of Pro Musica would like to convey our gratitude for your generosity and ongoing support.

In addition to the support mentioned elsewhere in the Program, we would like to acknowledge that the participation of the musicians from Spain would not have been possible without the support of the Programme for the Internationalisation of Spanish Culture (PICE), under the Mobility grants awarded by the state company Acción Cultural Española (AC/E).

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. 2016

96 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.

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